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C.  & E.  CANESSA 

ANTIQUAIRES 

NEW  YORK 

ONE  WEST  FIFTIETH  STREET 
PARIS  NAPLES 


125,  AVENUE  CHAMPS  ELYSEES 


PIAZZA  DEI  MARTIRI 


\ 


ILLUSTRATED  CATALOGUE 


OF  THE 


CANESSA  COLLECTION 

— OF 

RARE  AND  VALUABLE  OBJECTS  OF  ART 

OF  THE 

EGYPTIAN,  GREEK,  ROMAN,  GOTHIC 
AND  RENAISSANCE  PERIODS 


DESCRIPTIVE  MATTER  BY 

MR.  ERNEST  GOVETT,  Greek  and  Roman  Objects 
MISS  STELLA  RLJBINSTEIN,  Gothic  and  Renaissance  Objects 
PROF.  ARDUINO  COLASANTI,  Renaissance  Objects 


NEW  YORK: 

PRIVATELY  PRINTED  FOR  C.  & E.  CANESSA 

1919 


I 


'f 


NOTE 


Ancient  Greek  art  has  always  taken,  and  must  always  hold,  the 
first  place  in  the  history  of  art,  and  hence  no  collection  of  objects 
fashioned  by  artists  of  the  period  can  be  presented  to  the  public  with- 
out attracting  the  deepest  interest.  In  America  such  collections  are 
extremely  rare,  and  indeed,  outside  of  the  Museums,  important 
examples  of  Greek  sculptured  art  are  so  few  and  far  between  that 
it  is  questionable  whether  they  number  a score  all  told.  It  is  to  be 
observed  that  all  the  great  periods  are  represented  in  this  collection; 
the  late  Archaic  by  several  bronze  statuettes,  Nos.  22  and  23;  a fine 
tripod.  No.  21;  and  other  examples;  the  time  of  Phidias  and  his 
pupils  by  a bronze  statuette,  No.  28;  and  the  era  of  Praxiteles  and 
his  immediate  successors  by  a superb  marble  head.  No.  4(5,  a remark- 
able figure  of  the  faun  Marsvas,  No.  29,  and  some  others  of  lesser 
importance.  There  are,  further,  a few  important  marble  groups 
and  statues  of  the  last  two  centuries  B.C.,  Nos.  47.  48  and  .>0,  and 
some  beautiful  silver  and  miscellaneous  objects  of  the  second  and 
third  centuries  B.C.,  Nos.  87  and  88. 

The  other  ancient  objects  comprise  examples  of  Etruscan, 
Roman  and  Egyptian  art,  each  section  including  some  notable  pieces, 
among  which  may  be  specially  mentioned  two  fine  Roman  portrait 
busts,  Nos.  55  and  57.  and  a bust  in  rock  crystal  of  an  Egvptian  king 
of  the  eighteenth  dynasty.  No.  19. 

(It  should  be  stated  that  there  is  scarcely  a single  isolated  Greek 
sculptured  head,  or  even  a torso,  in  existence,  to  which  it  has  been 
possible  to  assign  an  artist  beyond  all  question,  and  the  attributions 
so  frequently  suggested  by  modern  German  critics  have  usually  only 
succeeded  in  confusing  the  problems  to  be  solved.) 

( Signed) 


E.  Govett. 


f 


CATALOGUE 


V 


EGYPTIAN  BRONZES  AND  FAIENCE 
STATUETTES 


1 — Bas-relief  in  Chalk.  Egyptian.  XI  Dynasty 

Found  at  Abvdos.  It  represents  the  profile  of  a man  looking  to  the 
right,  with  a short,  tightly  curled  wig.  Necklaces  on  the  chest.  Traces 
of  color.  In  a wooden  frame. 

Height , without  frame , 7 inches;  length , 7 inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


2 — Statuette  in  Bronze.  Egyptian.  XYII1  Dynasty 

It  represents  a king  standing.  He  is  walking  with  his  hands  in  front 
of  him,  the  fingers  facing  each  other.  He  has  a rayed  cap  surmounted 
by  the  symbol  of  Uraeus,  and  is  dressed  in  a shenti.  On  a wooden  base. 

Height , without  base,  7%  inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


3 Statuette  in  Bronze.  Egyptian.  X VI 1 1 Dynasty 

Figure  of  Osiris,  seated.  An  unusually  fine  example  of  bronze  work, 
and  in  perfect  condition.  On  a red  marble  base. 

Height,  5t/o  inches. 

4 — Small  Figure  in  Blue  Faience.  Egyptian.  XVIII  Dy- 
nasty, XY  Century  B.C. 

Blue  faience  figure  representing  Nofertum  seated  in  a chair. 

Height,  without  base,  inches. 

From  the  Samuel  H.  Austin  Sale. 


5 — Small  Statuette  in  Granite.  Egyptian.  XIX  Dynasty 

Statuette  of  a seated  scribe,  the  “Overseer  of  (?)  Khonsu  the  Justified.” 
Hieroglyphic  inscription  in  front.  On  wooden  base. 

Height , 3%  inches. 


6 — Bronze  Statuette.  Egyptian.  About 
Dynasty 

Figure  of  a man  holding  a bowl  in  each  hand. 


THE  XXVIT 


Size,  3 l/>  inches. 


7 — Small  Figure  in  Blue  Glaze.  Egyptian,  Saitic  Period. 
X Century  B.C. 

Small  figure  representing  Horus,  the  child.  Very  fine  modeling. 

Height,  21/9  inches. 

No.  7H0  of  the  Samuel  H . Austin  Sale. 


8 — Figure  of  the  Cat-headed  Goddess  “Bast,”  in  Egyptian 
Green  Glazed  Faience.  Saitic  Epoch.  X Century 
B.C. 


From  the  Samuel  H.  Austin  Sale,  No.  7 70. 


Height,  3 inches. 


0 — Small  Statuette  of  the  Cat-headed  Goddess  “Bast”  in 
Bronze.  Saitic  Epoch.  X Century  B.C. 

The  goddess  has  a sistrum  in  her  right  hand,  the  a?gis  of  Bast  in  her 
left  and  a basket  over  her  arm. 

Height,  3I/4  inches. 

No.  871  of  the  Samuel  II . Austin  Sale. 


10 — Statuette  in  Bronze.  Egyptian  Period 

Re]  (resenting  the  young  H orus  seated.  The  young  god  is  entirely  nude 
and  carries  the  Flame  of  Youth.  He  is  coiffed  serre-tete  with  the  orna- 
ment of  Ur;eus.  The  frontal  U rams,  the  Flame,  the  eyes  and  the  neck- 
laces are  in  gold.  At  the  bottom  is  a hieroglyphic  inscription.  Upon 
a wooden  base. 

Height,  without  base,  5 inches. 
From  the  Borelli  Beg  Collection  of  Alexandria. 


11 — Small  Statuette  in  Bronze.  Egyptian  (?)  Period 

Small  figure  of  Harpocrates,  the  god  of  Silence,  nude,  the  right  fore- 
finger held  toward  the  lips.  On  the  head  the  royal  wig  of  Ur  a us  and 
head-dress  and  loop  at  the  side  for  taking  the  curl;  on  the  back  of  the 
head-dress  is  engraved  a human-headed  hawk  representing  the  Soul. 
Found  at  Sakkara.  On  alabaster  plinth. 

Height,  zvithout  base,  4%  inches. 

No.  2298  of  the  F.  G.  IHlton  Price  Collection  of  London,  England. 


12 — Statuette  in  Bronze.  Egyptian  Period 

Representing  Isis  nourishing  Horus.  Isis  is  seated,  with  a head-dress 
surmounted  by  the  symbol  of  Uncus,  with  horns  and  a disk.  Horus’ 
head  is  dressed  serre-tete  with  the  symbol  of  Uncus  and  carries  the 
FI  amc  of  Youth.  Hieroglyphic  inscription  at  bottom.  Mounted  on  a 
wooden  base. 

Height,  without  base,  10  inches. 
From  the  Borelli  Beg  Collection  of  Alexandria. 


13 — Statuette  in  Granite.  Egypto-Boman 

Representing  God  Ptah  of  Memphis.  On  base  of  blue-inlaid  green 
faience,  inscribed:  “Give  Life,  Oh  Ptah,  Beloved  in  Memphis.” 

LI  eight,  4*1/4  inches. 


14 — Figure  in  Brilliant  Blue  Glazed  Faience.  Egyptian 
Period 

Egyptian  ushabtie,  made  for  Hern,  a priest  of  Amen.  Found  at  Deir- 
el-Babri,  Egypt. 

Height,  without  base,  4l/o  inches. 
From  the  F.  G.  Hilton  Price  Collection,  London,  England. 


15 — Granite  Urn.  Egyptian  Period 

With  two  handles  and  cover. 


Height.  15 Eh  inches. 


16 — Amphora  in  Bronze.  Egyptian  Period 

The  top  of  the  neck  is  turned  back  and  ornamented  with  a dentelled 
frieze.  The  two  handles  are  attached  to  the  body  in  the  form  of  leaves. 
The  foot  is  fluted. 

Height , 20  inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


17 — Canopic  Vase  in  Alabaster.  Egyptian  Period 

In  the  usual  form;  the  cover  representing  a human  head  with  much 
character. 

Height,  18  inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


18 — Sistrum  in  Bronze.  Egyptian.  Ill  Century  B.C. 

A fine  example  of  this  curious  musical  instrument,  and  in  perfect  preser- 
vation. It  is  surmounted  bv  an  image  of  the  Cow-goddess.  The  sistrum 
was  used  (shaken  by  the  hand)  in  Egyptian  sacred  ceremonies  for  two  or 
three  thousand  years,  by  queens  and  priestesses,  for  the  purpose  of  driv- 
ing away  evil  spirits;  and  in  later  times  it  was  also  brought  into  service 
for  accompanying  ceremonial  dances. 

Length , 8 inches. 


19 — Statuette  in  Rock  Crystal.  Egyptian.  XVIII  Dynasty 

It  represents  in  half  bust  a king;  be  has  the  appearance  of  a warrior  and 
wears  upon  his  helmet  the  symbolical  serpent.  It  is  difficult  enough  to 
find  a sculpture  in  quartz  of  these  dimensions,  but  its  rarity  becomes  even 
greater  considering  that,  very  probably,  it  was  part  of  a complete 
statue  wrought  entirely  from  this  very  hard  and  precious  material.  The 
quality  of  the  quartz  used  by  this  unknown  Egyptian  sculptor  is  more 
beautiful  because,  in  its  limpid  transparency,  it  has  magnificent  red  re- 
flections. Found  at  Karnak,  near  the  famous  temple. 

Height,  without  base,  10  inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


( Illustrated) 


No.  11) — Statuette  in  Rock  Crystal.  Egyptian.  XVIII  Dynasty 


GREEK  AND  ROMAN  BRONZES 


20 — Three  Bronze  Sculptured  Disks.  Etruscan.  About  VII 
Century  B.C. 

The  disks  are  adorned  with  fabulous  animals  in  relief,  the  largest  of 
them  having  also  two  human  figures.  The  character  of  the  work  indi- 
cates the  very  earliest  Etruscan  relief  sculpture  known  to  us,  and  it  must 
be  dated  not  later  than  the  seventh  century  B.C.,  though  we  have  nothing 
absolutely  definite  to  guide  us  upon  the  history  of  art  in  Etruria  at  this 
period.  It  is  probable  that  the  disks  were  used  to  adorn  a chariot,  the 
largest  at  the  front,  and  the  others  at  the  sides.  They  are  exceedingly 
rare  examples  of  an  almost  forgotten  stage  of  art. 

Sizes,  12  inches,  9 inches  and  8 inches,  respectively. 

( Illustrated) 


1 — Thipoij  in  Bronze.  Archaic  Greek.  VI  Century  B.C, 

The  tripod  is  mounted  on  the  paws  of  a lion,  and  is  of  the  regular 
archaic  type  seen  on  early  Greek  painted  vases,  in  representations  of 
Hercules  fighting  for  the  Delphic  Tripod.  It  is  ornamented  with  small 
nude  male  figures.  Similar  tripods,  but  less  fine  in  execution,  are  in  the 
British  Museum  and  at  the  Vatican.  Found  in  the  vicinity  of  Rome. 

Height,  24  inches. 

From  the  Ke-rkirian  Collection. 


( Illustrated ) 


No.  wl—  TkJI'OD  IX  lJjiONZE.  AlO 


Votive  Statuette  of  Athena  in  Bronze.  Archaic  Greek. 
Late  VI  Century  B.C. 

The  goddess  stands  attired  in  a close-fitting  peplos  fastened  over  the 
breast,  and  falling  to  the  ground.  She  wears  a helmet  with  high  crest, 
ornamented  with  the  sacred  serpent.  Some  parts  of  the  figure  are  miss- 
ing from  the  ravages  of  time,  but  the  principal  parts  of  the  head  and 
form  are  retained,  the  whole  representing  an  exceedingly  rare  and  pre- 
cious example  of  archaic  Greek  art.  On  a lapis-lazuli  base.  Found  in 
Greece. 


( Illustrated) 


Height,  1 5 I/O  inches. 


—Statuette  in  Bronze.  Greek.  Early  V Century  B.C. 

The  figure  represents  Hercules  crouching,  with  one  knee  on  the  ground, 
in  the  act  of  drawing  the  bow.  He  wears  a cuirass  ending  in  leather 
flaps,  and  a pair  of  gaiters.  A lion’s  skin  is  drawn  over  the  top  of  his 
head,  and  hangs  down  at  the  back,  the  ears  of  the  animal  being  worked 
in  gold.  This  form  of  head-dress  is  uncommon  in  Greek  sculptured 
figures,  hut  it  had  a strange  celebrity  in  Roman  times  because  Commodus 
adopted  it  when  he  had  himself  sculptured  as  Hercules.  The  form  is 
also  found  in  representations  of  the  demi-god  on  Greek  coins,  and  in  one 
or  two  marble  reliefs.  The  countenance  of  the  figure  wears  the  well- 
known  Archaic  smile,  and  this,  with  the  general  design,  places  it  in 
the  period  shortly  before  the  great  development  initiated  by  Calamis 
and  Myron  in  the  fifth  century  B.C.  Found  at  Nigrita,  Thasos.  On 
a porphyry  base. 

Height , ()l/>  inches;  length,  5%  inches. 


( Illustrated) 


No.  23 — Statuette  ix  Biionze.  Greek.  Early 


24 — Three  Feet  of  a Casket  in  Bronze.  Archaic  Greek.  V 
Century  B.C. 

They  represent  the  paws  of  winged  lions,  surmounted  by  three  atldetes ; 
of  the  very  finest  execution  ; beautiful  emerald  patina.  Very  rare  pieces. 

Height,  4l/>  inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 

( Illustrated) 


25 — Mirror  Handle  in  Bronze.  Greek.  V Century  B.C. 

The  mirror  handle  is  in  the  form  of  a caryatid.  The  figure,  which  is 
apparently  intended  for  Apollo,  is  modeled  with  the  simple  rigidity  of 
form  characteristic  of  the  late  Archaic  period,  and  is  a good  example 
of  this  work.  Found  at  Girgenti,  Sicily. 

Height,  ()■'*/[  inches. 

( Illustrated) 


2(1 — Statuette  in  Bronze.  Umbrian.  IV  Century  B.C. 

It  represents  an  acrobat  who  arches  his  body  by  firmly  pressing  his 
hands  to  the  ground,  previous  to  turning  a somersault.  The  singularity 
of  the  attitude,  which  requires  the  tension  of  every  muscle,  has  given  a 
very  wide  scope  to  the  sculptor,  who,  following  the  natural  tendency  of 
Etruscan  art,  has  shown  every  anatomical  detail.  Beautiful  emerald 
patina.  Probably  the  handle  of  a vase.  Porphyry  base. 

Height,  without  hose,  414  inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 

( Illustrated) 


7 OiNOciiOE  in  Bronze.  Greek.  V or  I V Century  B.C. 

The  vase  is  of  olpe  shape  with  trefoil  mouth.  Barns’  heads  ornament 
the  handle  at  the  base,  and  crouching  lions  at  the  top.  Finder  the  handle 
is  a palmetto.  This  form  of  oinochoe  is  exceedingly  rare  in  bronze,  and 
the  example  is  in  fine  condition.  Found  in  Sicily. 


Height,  !)V>  inches. 


28 — Statuette  of  a Hero  ix  Bronze.  Greek.  Early  IV  Cen- 
tury B.C. 

From  the  general  attitude  of  this  figure,  and  from  the  position  of  the 
folded  hands  which  seem  to  have  held  a sword  and  scabbard  respectively, 
the  statuette  appears  to  represent  Aristogiton,  who  with  Harmodius 
killed  the  tyrant  Hipparchus.  Statues  of  the  tyrannicides  in  bronze  were 
made  by  Antenor,  and  subsequently  by  Critius  and  Nesiotes.  In  these 
works,  and  in  others  in  relief  and  on  coins,  as  well  as  on  early  Greek 
painted  vases,  Aristogiton  was  always  represented  holding  a sword  and 
scabbard  in  much  the  same  attitude  as  in  this  statuette,  except  that 
the  right  arm  was  held  down,  and  the  left  thrown  out  with  a chlamys 
falling  over  it.  The  moment  of  action  differs  also,  for  whereas  in  the 
other  representations  the  hero  was  proceeding  with  a martial  stride  to 
fulfil  his  mission,  the  position  of  the  left  foot  in  this  statuette  suggests 
that  the  last  stride  has  been  taken,  and  he  is  about  to  strike.  It  may 
be  observed  that,  in  the  ancient  group  of  the  tyrannicides  at  Naples, 
the  face  of  Aristogiton  is  clean  shaven  as  in  the  figure  on  the  old  painted 
vases,  but  the  head  of  the  hero  in  the  Naples  group  is  a modern  sub- 
stitution for  the  original,  which  was  missing  when  the  group  was  un- 
earthed. In  all  the  early  sculptured  groups,  Aristogiton  was  shown 
bearded  as  in  this  statuette.  The  change  in  the  pose  of  the  figure  from 
the  more  formal  type  in  the  group  of  Critius  and  Nesiotes  is  consonant 
with  the  advanced  character  of  the  form  in  this  statuette,  which  belongs, 
of  course,  to  the  best  period  of  the  art.  Found  in  the  Tiber.  On  a green 
marble  base. 


( Illustrated) 


Height , 10%  inches. 


No.  28  Statuette  of  a Hero  in  Bronze.  Greek. 
Early  I\  Century  B.C. 


—Statuette  oe  Marsyas  in  Bronze.  Greek.  Early  III 
Century  B.C. 

The  Faun  stands  with  the  weight  of  the  body  resting  mostly  on  the 
right  foot,  the  left  being  brought  up  on  the  toes.  The  upper  part  of 
the  body  is  bent  forward,  and  the  eyes  are  directed  toward  the  ground 
a short  distance  away.  The  arms  are  missing,  but  the  position  in  which 
they  were  held  is  obvious.  The  left  was  thrown  out  almost  straight  from 
the  shoulder,  while  the  right  was  brought  forward  at  the  level  of  the 
breast,  both  elbows  being  bent  and  the  hands  open. 

The  work,  which  is  of  considerable  importance,  was  executed  toward 
the  beginning  of  the  third  century  B.C.  The  general  type  is  of  the 
school  of  Praxiteles,  but  the  artist  has  departed  from  this  in  the  ac- 
centuated faun  character  of  the  countenance,  and  the  strength  of  the 
head  and  neck,  which  latter  features  remind  one  of  the  manner  of 
Lysippus.  There  is,  however,  nothing  of  the  formality  of  this  sculptor 
about  the  supple  figure,  and  the  realistic  flesh  folds  of  the  torso.  The 
proportions  of  the  figure  are  perfect,  and  the  workmanship  is  supreme 
as  in  most  bronzes  of  the  period. 

The  figure  of  Marsyas  is  represented  in  a moment  of  action  in  a 
legendary  incident  popularly  known  at  the  time  the  sculpture  was  made. 
Athena,  having  invented  the  twin  pipes,  was  one  day  playing  them 
near  a crystal  pool,  when  she  noticed  from  the  reflection  in  the  water 
that  her  checks  swelled  out  from  the  action  of  blowing,  and  the  supreme 
beauty  of  her  countenance  was  consequently  marred.  In  her  disgust 
she  threw  down  the  pipes,  announcing  that  a curse  would  follow  whom- 
soever picked  them  up.  But  the  faun  Marsyas  had  been  listening  to 
the  harmony  of  the  blue-eyed  maid,  and  started  with  amazement  when 
she  threw  down  the  pipes,  subsequently  picking  them  up  notwithstanding 
the  curse,  with  the  well-known  result  that  later  on  he  challenged  Apollo 
to  a musical  contest,  and  was  flayed  alive  as  a punishment  for  his  pre- 
sumption and  defeat.  The  incident  must  have  been  a favorite  with 
artists  in  the  fifth  century  B.C.,  for  there  are  still  remaining  represen- 
tations of  it  in  relief,  on  painted  vases,  and  even  on  a coin  of  the  time, 
while  one  of  the  finest  ancient  statues  extant  is  the  marble  figure  after 
Myron  in  the  Vatican,  showing  Marsyas  starting  with  surprise  from  the 
action  of  Athena. 

The  artist  of  the  bronze  figure  under  discussion  has  taken  for  his 
action  the  same  moment  that  was  adopted  by  Myron,  and  which  is 
represented  in  all  the  fifth  century  works  dealing  with  the  legend.  Mar- 
syas has  half  leaped  in  amazement,  and  holds  himself  in  the  attitude 
indicated,  with  both  arms  held  up,  as  lie  stares  at  the  pipes  on  the  ground. 

[ Continued 


No.  ’29  -Bronze  Statuette  of  Marsyas. 

Eari.y  III  Century  B.C. 


Greek. 


[No.  29 — ('on  fin  tied] 

It  is  observable  that  in  the  fifth-century  representations  of  the  incident, 
the  faun  is  shown  bearded,  whereas  in  tins  case  he  is  a young  man 
without  beard.  This  is  a natural  consequence  of  the  action  of  Praxiteles 
in  representing  all  of  his  beautiful  faun  figures  in  the  vigor  of  early 
manhood,  with  smooth  cheeks.  These  sculptured  fauns  were  celebrated 
throughout  Greece,  and  must  have  become  established  types  from  which 
a wise  artist  would  not  have  ventured  to  depart,  at  least  while  the 
memory  of  the  great  sculptor  was  fresh  in  the  minds  of  men. 

This  figure  is  apparently  the  only  existing  ancient  bronze  statuette 
of  the  young  M arsyas  in  this  attitude,  of  importance,  and  nearly  1700 
years  were  to  pass  before  another  was  made  to  our  knowledge.  This 
is  the  fine  figure  by  Pollaiuolo  in  the  Frick  Collection,  New  York.  Bel- 
lano  also  modeled  a figure  of  the  Startled  Faun,  the  attitude  of  which  is 
very  similar  to  that  of  the  Greek  bronze,  except  in  the  position  of  the  left 
foot.  No  other  serious  representation  of  the  legend  in  modern  times 
is  known,  beyond  a painting  by  Piero  di  Cosimo,  showing  Marsyas 
seated  on  the  ground,  and  about  to  play  the  pipes  in  the  presence  of 
Athena.  Found  at  Carthage.  Mounted  on  a red  marble  base. 


Height , 18  inches. 


30— H andle  of  Water  Urn  in  Bronze.  Etruscan.  Ill  Cen- 
tury B.C. 

The  two  ends  of  the  handle  finish  in  the  form  of  lotus  flowers.  Two 
figures  are  seen  seated,  in  the  act  of  making  libation  from  a vase  placed 
in  the  center.  Coming  from  the  Barberini  Collection,  this  handle  of  a 
water  urn  formed  part  of  the  richest  treasure-trove  in  the  line  of  house 
equipment  brought  to  light  in  the  excavations  of  Palestrina,  the  greater 
part  of  which  was  acquired  recently  by  the  Italian  Government,  for 
the  Villa  Giulia  Museum,  Rome.  (See  the  illustrations  of  Alessandro 
Della  Seta  in  the  Art  Bulletin  of  the  Minister  of  Public  Instruction, 
1911,  also  for  the  bibliography.) 

Length,  9 inches. 


31 — Bronze  Hand  Mirror.  Greek.  Ill  or  II  Century  B.C. 

Engraved  in  outline  with  a design  representing  the  Judgment  of  Paris. 

Length,  10  inches. 


32 — Applique  in  Bronze.  Alexandrian.  II  Century  B.C. 

The  head  of  a faun  turned  slightly  to  the  left,  and  looking  up.  In  the 
hair  are  bundles  of  grapes  and  leaves  of  ivy.  Found  at  Elis. 

Height,  f>lA  inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


33— Statuette  in  Bronze.  Etruscan 

Re]  ircsenting  a victorious  warrior.  He  bears  a helmet  on  his  head, 
carries  in  his  left  hand  a lance,  and  in  the  right  a crown.  On  red  marble 
base. 


Height,  5 14  inches. 


;34 — Axle  Cap  in  Bronze.  Greek.  Early  II  Century  B.C. 

The  cap,  which  is  from  a chariot,  lias  the  disk  ornamented  with  a head 
of  Medusa  in  strong  relief,  the  eyes  being  in  silver.  An  interesting 
feature  is  a geometrical  pattern  inlaid  in  silver  around  the  base  of  the 
cap.  On  either  side  of  the  cylinder  are  holes  through  which  the  cap 
was  fastened  to  the  axle.  In  the  period  when  the  bronze  was  made, 
chariots  were  only  used  in  the  public  games,  and  ornament  often  played 
a considerable  part  in  their  design.  The  preservation  of  this  rarity  is 
nearly  perfect.  Found  near  Rome. 

Height , 1 inches;  diameter , 6 inches. 
Ove  similar  is  in  the  Metropolitan  Museum  of  Art. 


3 5 — Situla  in  Bronze.  Greco-Roman 

The  situla  is  pear-shaped,  with  two  handles.  The  spout  is  formed  of  the 
head  of  a wolf,  and  a head  of  Aphrodite  is  applied  on  the  opposite  side. 
In  fine  condition. 

Height,  7' 1/4  inches;  greatest  diameter,  (ibo  inches. 


36 — Statuette  oe  Zeus  in  Bronze.  Greco-Roman 

The  god  stands  holding  the  thunderbolt  in  his  right  hand,  while  the  left 
is  carried  full  out  from  the  shoulder.  Judging  from  similar  figures  of 
the  period,  it  is  evident  that  the  left  hand  originally  held  a scepter.  The 
example  is  exceptionally  fine.  On  a marble  base. 

Height,  4%  inches. 


37 — Statuette  in  Bronze.  Roman.  I Century  B.C. 

The  figure  represents  a man  nude,  except  for  a waist  cloth,  and  a 
lacerna  thrown  over  his  left  shoulder.  He  wears  a Parthian  conical 
hat  with  a leather  band,  the  ends  of  which  come  down  over  the  shoulders. 
Both  arms  are  bent  up  from  the  elbows.  An  exceedingly  rare  model  in 
fine  condition.  Found  near  Rome.  On  a red  marble  base. 

Height,  9 inches. 


38 —  Vase  in  Bronze.  Roman.  I Century  B.C. 

Bi  •onze  vase,  with  elongated  spout.  On  the  handle  is  seen  the  figure  of 
a putto  (Eros?)  and  a grotesque  face  of  Silenus.  The  most  flourishing 
period  of  Roman  art  is  indicated  by  the  elegance  of  the  execution. 

Height,  7I/4  inches. 

39—  Helmet  in  Bronze.  Roman.  I Century  B.C. 

Life  size. 


40 — Statuette  oe  Victory  in  Bronze.  Early  Imperial  Roman 

She  stands  on  a sphere,  and  wears  an  unusual  form  of  chiton  which  ter- 
minates below  the  breast,  and  is  held  up  by  cords  carried  over  the  left 
shoulder;  the  wings  are  missing.  On  a marble  base. 

Height , 5 I/O  inches. 


41 — Statuette  of  an  Orator  in  Bronze.  Roman.  I Century 

A.D. 

He  stands  attired  in  senatorial  costume,  and  is  represented  in  the  act  of 
speaking.  On  a red  marble  base. 

Height,  3 inches. 


42—  Small  Head  and  Bust  of  Jupiter  in  Bronze.  Roman.  I 

Century  A.D. 

A tine  piece  of  work  from  a wax  cast.  This  form  of  household  god  was 
very  popular  in  the  time  of  early  Imperial  Rome.  On  a marble  base. 

Height,  C/\  inches. 

43 —  Statuette  of  Silenus  in  Bronze.  Gallo-Roman.  II  Cen- 

tury A.I). 

Silenus  is  standing  with  a cup  in  his  left  hand,  while  the  right,  which 
probably  held  a wine  .jug,  is  held  up.  He  is  nude  save  for  a chlamys 
falling  over  his  left  shoulder.  The  figure  is  in  good  condition,  and  has 
a rare  water  patina.  On  a red  marble  base. 

Height,  5 inches. 

From  the  Borclli  Beg  Collection  of  Alexandria. 

44 —  Statuette  in  Bronze.  Gallo-Roman 

Figure  of  a woman,  semi-nude,  in  a running  attitude.  The  right  arm  is 
missing.  On  a wooden  base. 

Height,  3i/o  inches. 

4.3- — Bronze  Statuette  of  Athena.  Gallo-Roman.  II  Cen- 
tury A.D. 

The  goddess  stands  attired  with  a peplos,  and  wearing  a helmet.  A 
very  rare  type  of  model,  and  in  good  preservation  except  that  the  arms 
are  missing.  On  a red  marble  base. 


Height,  7 inches. 


I 


GREEK  AND  ROMAN  MARBLES 


46 — Head  of  a Poetess  in  Marble.  Greek.  IV  Century  B.C. 

This  fine  head  is  evidently  an  idealized  representation  of  a poetess, 
probably  Sappho  or  C'orinna,  since  these  were  the  only  poetesses  whose 
celebrity,  at  the  time  the  work  was  sculptured,  would  appear  to  have  war- 
ranted the  execution  of  a statue  at  the  hands  of  a great  master.  For 
this  head  is  clearly  the  work  of  one  of  the  first  artists  of  Greece.  It 
is  instantly  recognized  as  an  example  of  the  school  of  Praxiteles,  sculp- 
tured near  his  time,  and  embodying  most  of  the  high  qualities  of  form 
and  expression  which  we  are  accustomed  to  associate  with  his  work. 
The  perfection  of  the  separate  features  with  the  gradual  and  imper- 
ceptible transition  from  one  to  the  other,  the  details  of  the  eyes  and 
mouth,  and  the  delicate  protuberances  above  the  eyebrows  to  emphasize 
the  quality  of  nobility  in  expression,  are  all  characteristics  of  the  Praxi- 
telean  ideal.  In  fact,  were  we  to  consider  the  countenance  separately, 
the  ideal  is  so  complete  that  the  representation  might  be  taken  for  that 
of  a divinity,  were  it  not  for  the  arrangement  of  the  hair;  but  as  it  is, 
and  in  the  absence  of  any  attribution  associated  with  a Muse,  we  must 
assign  the  head  to  a poetess. 

The  hair  is  dressed  en  cotes  dc  melon  ( the  origin  of  which  expression 
is  obvious),  and  the  style  is  known  as  Boeotian  from  the  fact  that 
variations  of  it  are  common  in  Tanagra  figurines.  This  coiffure  is  found 
oidy  on  three  or  four  other  existing  life-size  heads  in  marble,  the  best 
known  of  these  being  at  the  Glyptothek,  Munich.  This  head  is  strikingly 
similar  in  general  form  to  the  one  under  discussion,  and  a great  deal 
of  attention  has  been  given  to  it  by  critics,  a few  of  them  ascribing  it  to 
Praxiteles;  others,  including  Furtwangler,  to  the  school  of  this  artist, 
while  Reinach  takes  it  out  of  the  period  and  refuses  to  accept  it  as 
an  original  work.  Unquestionably  Reinach  is  right.  The  Munich  head 
has  been  much  restored,  but  the  restoration  cannot  be  responsible  for 
the  line  of  depression  above  the  upper  lip  on  either  side  of  the  nose,  which 
tends  to  destroy  the  suggestion  of  an  ideal,  and  could  not  possibly  be 
present  in  an  original  work  of  a great  artist  of  the  fourth  century. 
The  Canessa  head  differs  from  the  others  referred  to  in  an  important 
detail.  This  is  in  the  manner  of  applying  the  Boeotian  mode  of  coiffure. 
It  will  be  observed  that  the  binding  coil  of  hair  which  cuts  off  the  melon 
pattern  encircles  the  whole  back  of  the  head,  and  the  remainder  of  the 
hair  is  neatly  finished  off  in  the  form  of  a pad.  In  all  the  other  heads 
with  this  style  of  coiffure,  and  in  the  Tanagra  figures,  this  coil  is  re- 
duced to  a comparatively  small  size,  so  that  the  remaining  hair  must 
necessarily  taking  the  form  of  a nob  or  ball,  thus  removing  from  the  head 


[No.  46 — Continued ] 

the  severity  of  form  which  should  accompany  a fourth-century  work 
of  this  kind. 

For  this  and  other  reasons,  in  considering  the  principal  heads 
allied  to  the  one  under  discussion,  we  can  only  come  to  the  conclusion 
of  Reinach,  who,  in  referring  to  the  whole  series,  said  of  the  Canessa  ex- 
ample: “C’est,  si  je  ne  me  trompe,  la  premiere  tete  de  cette  serie  dont  on 
puisse  affirmer  la  provenance  grecque”  ( Gazette  cles  Beaux- Arts,  April, 
1914). 

It  is  necessary  to  add  that  the  several  attributions  of  these  heads, 
or  any  of  them,  to  Silanion  is  founded  on  no  evidence  at  all  beyond  the 
fact  that  this  artist  is  known  to  have  executed  statues  of  Sappho  and 
Corinna;  and  while  the  Canessa  head  bears  a certain  similarity  in  style 
to  a head  attributed  to  Euphranor,  yet  the  ground  of  this  attribution 
renders  it  as  nebulous  as  the  other. 

The  Canessa  head  may  be  by  Silanion,  but  we  can  only  say  with 
surety  that  it  is  a magnificent  work  of  the  second  half  of  the  fourth 
century  B.C.,  from  the  hands  of  one  of  the  first  masters,  who  has  wholly 
absorbed  the  influence  of  Praxiteles.  Found  at  Thasos.  On  a marble 
base. 

Height,  without  base,  11  inches. 

Illustrated  in  Mitchell's  “ History  of  Ancient  Sculpture,"  1905;  and  the 
"Gazette  dcs  Beaux-Arts,"  April,  1914. 

See  Statue  by  Silanion,  Viren  el  Museum,  Com  piegne. 


( Illustrated) 


No.  46 — Head  of  a Poetess  in  Marble. 


Greek.  IV  Century  B.C. 


No.  46 — Head  of  a Poetess  in  Marble.  Greek 


IV  Century  B.C 


47 — Group  of  the  Three  Graces  in  Marble.  Greek.  Ill  Cen- 
tury B.C. 

The  Graces  stand  nude,  joined  together  by  their  hands  on  each  other’s 
shoulders.  On  each  side  of  the  group  is  a high  vase  with  drapery  hang- 
ing gracefully  over  it.  An  arm  is  missing  from  each  figure,  and  the 
heads  are  modern  restorations. 

The  design  of  this  group  is  well  known  from  the  existence  of  a 
similar  one  (but  without  the  vases)  which  was  found  in  the  fourteenth 
century  during  the  excavations  for  the  Siena  Cathedral,  in  which  edifice 
it  now  stands.  This  work  suggested  to  Raphael  the  marvelous  painting 
of  the  Graces  now  at  Chantilly,  in  which,  indeed,  the  grouping  is  scarcely 
varied  at  all  from  that  of  the  sculpture.  The  extension  of  the  base  of 
the  sculpture  by  the  addition  of  vases  is  an  admirable  device,  and  the 
absence  of  these  from  the  Siena  group  seems  to  indicate  that  it  is  a later 
work  than  the  Canessa  example. 

The  principal  feature  in  the  group  is  the  remarkable  rhythmic 
harmony  presented  in  the  pose,  the  design  almost  suggesting  that  the 
figures  are  about  to  move  together  in  a dancing  step.  This  is  brought 
about  by  an  exquisite  adjustment  of  the  figures  to  the  respective  posi- 
tions they  occupy,  and  a perfect  balance  of  expression  in  the  forms.  The 
torsos  are  built  up  on  ideal  principles,  subject  to  natural  modifications 
necessitated  by  the  character  of  the  grouping,  the  whole  work  being  a 
fine  example  of  beautiful  form  and  technical  skill.  Found  at  Capua. 

Height , 3 feet  (5 f/C  inches ; width,  3 feet  1 inch. 

( Illustrated) 


N°-  — (iiforr  OF  THE  Three  Graces  in  Marufe.  Greek.  Ill  Century  ICC. 


48 — Statue  of  Aphrodite  in  Marble.  Greco-Roman  or  Early 
Imperial  Roman 

The  goddess  stands  at  ease,  with  the  right  knee  bent,  and  the  weight  of 
the  body  resting  mostly  on  the  left  foot.  She  is  attired  in  a long  chiton 
of  thin  material,  fastened  on  the  right  shoulder,  and  falling  down  loosely 
from  the  left,  uncovering  the  breast.  The  right  arm  is  held  out  and 
bent  up  from  the  elbow,  the  hand  lightly  holding  a fold  of  the  drapery. 
In  the  left  hand  is  the  apple  awarded  by  Paris.  The  head  and  extremi- 
ties of  the  limbs  are  sixteenth  century  restorations. 

This  figure  is  an  ancient  reproduction  of  the  statue  known  as 
Venus  Genetrix,  of  which  a life-size  example  is  in  the  Louvre.  The 
origin  of  the  design  has  not  yet  been  settled.  The  Louvre  figure  is 
usually  regarded  as  a reproduction  of  “Aphrodite  of  the  Gardens”  by 
Alcamenes,  but  this  attribution  was  given  to  it  by  Furtwangler  without 
any  material  evidence.  Others  give  the  original  to  Calamis,  and  others 
again  claim  that  the  Louvre  statue  is  an  original  by  Arkesilaos,  an  early 
Imperial  Roman  sculptor,  though  agreeing  that  the  general  type  belongs 
to  an  earlier  period.  It  is  obvious,  from  the  nobility  of  the  design,  the 
type  of  the  head,  and  the  character  of  the  drapery,  that  the  Louvre 
figure  must  be  based  upon  a work  of  the  latter  part  of  the  fifth  or  the 
early  fourth  century  B.C.,  even  if  it  be  not  a direct  reproduction  of  a 
work  of  this  period,  but  it  is  scarcely  likely  that  the  point  will  ever  be 
settled. 

The  statue  under  consideration  is  an  excellent  reproduction  of  the 
celebrated  figure.  It  is  clearly  of  the  Greco-Roman  or  early  Imperial 
Roman  period,  and  must  be  placed  as  one  of  the  best  existing  examples. 
The  chief  feature  of  the  sculpture  is  the  skilful  management  of  the 
clinging  drapery. 

Height,  with  ha.se,  8 feet  8 inches. 

The  statue  is  from  the  collection  of  Cardinal  Altemps.  When  this 
collection  was  sold,  most  of  the  pieces  were  acquired  by  Pope  Leo 
XIII  for  the  Vatican,  and  four  were  bought  by  the  late  Mr.  J.  P. 
Morgan  and  are  now  in  his  library. 


( Illustrated) 


No.  48 — Statue  of  Aphrodite  in  Marble. 
Greco-Roman  or  Early  Imperial  Roman 


49 — Two  Bas-reliefs  in  Marble.  Greco-Roman 

These  reliefs  are  sections  of  a frieze.  Each  represents  a group  of 
msenades  taking  part  in  a Dionysiac  procession,  the  action  being  most 
skilfully  rendered. 

Height,  20  inches ; length,  30  inches. 
From  the  Borelli  Beg  Collection  of  Alexandria. 


( Illustrated ) 


No.  49 — Two  Bas-reliefs  in  Marble. 


Gr  eco-Roman 


50 — Head  and  Bust  of  Aphrodite  in  Marble.  Greco-Roman 

An  excellent  ancient  reproduction  of  a fourth-century  B.C.  sculpture 
of  the  goddess.  The  nose  is  partly  restored. 


Height,  21  inches. 


51 — Table  in  M ARBLE.  II  Century  ICC'. 

Found  at  Boscoreale.  Rectangular  shape.  Oblong  top  of  Pavonazzo 
marble,  supported  by  a l)ust  of  a winged  lion  in  white  marble  resting  on 
a Pavonazzo  marble  base,  on  either  side. 

Height , 2 feet  Ifl/o  inches ; length , 4 feet  21  '■>  inches;  width,  1 foot 
1114  inches. 


.52 — Statuette  in  Marble.  Roman.  1 Century  B.C. 

Standing  figure  representing  Triptolemus.  He  is  attired  in  a short 
tunic,  and  his  hair  is  dressed  with  wheat  ears,  while  his  right  hand  holds 
a bunch  of  wheat  stalks  (broken  off  short).  At  his  feet  is  lying  a boar. 
A very  excellent  sculpture  bv  a Greek  artist,  and  in  unusually  fine  con- 
dition. Found  in  Sicily. 

Height,  31  A/k  inches. 


( Illustrated ) 


No.  52 — Statuette  of  Triptolemus  in  Marble. 
Roman.  I Century  B.C. 


5.3 — Head  of  Aphrodite  in  Marble.  Greco-Roman 

A fine  reproduction  of  an  early  fourth-century  type  of  the  goddess, 
and  in  fair  condition  execept  that  some  tresses  of  hair  at  the  back,  and 
part  of  the  nose,  have  disappeared,  conditions  which  are  common  with 
nearly  all  ancient  marbles  when  excavated.  On  a marble  base. 

Height,  11  inches. 

54 — Head  of  a Woman  in  Marble.  Greek.  II  Century  B.C. 

The  back  part  of  the  head  is  gone,  and  the  nose  slightly  injured,  while 
the  surface  has  suffered,  though  evenly,  from  sand  erosion.  Neverthe- 
less the  head  is  of  high  beauty,  and  a rare  example  of  the  sculpture  of 
the  period.  It  seems  to  be  a reproduction  of  a fourth-century  head  of 
the  school  of  Praxiteles.  Pound  in  Sicily. 

Height,  8 inches. 

Two  similar  heads  in  the  Palermo  Museum  from  the  excavation  at 
Selinunto. 


55 — Bust  of  a Boy  in  Marble.  Roman.  I Century  A.l). 

An  excellent  sculptured  portrait  head,  somewhat  similar  in  the  style 
of  work  to  the  head  of  the  boy  C'aius  in  the  Vatican.  The  right  ear  is 
restored.  Found  in  Spain.  On  a marble  base. 

Height , 1214  inches. 


.56 — Fragment  in  Marble.  Greek.  II  Century  B.C. 

Representing  Eros,  nude,  standing  near  a column  and  holding  a bird.  A 
good  sculpture  of  this  period.  Modern  head.  Found  in  Greece. 

Height,  29  inches. 


57 — Bust  in  Marble.  Roman.  I Century  A.D. 

Portrait  bust  of  Julia  Titi.  Light  drapery  covers  the  breast  and  loses 
itself  in  an  acanthus  leaf  which  forms  the  base.  Though  differing  in 
design,  the  hair  is  dressed  in  the  same  style  as  in  the  other  busts  of  the 
lady  at  the  National  Museum,  Rome,  and  the  Uffizzi,  Florence.  The 
sculpture  is  of  a high  order,  the  artist  having  produced  as  near  a re- 
semblance to  a living  personage  as  is  possible  in  marble.  It  is  unfor- 
tunate that  we  can  seldom  or  never  connect  the  names  of  portrait  artists 
of  this  period  with  particular  works,  but  this  bust  must  clearly  be  as- 
signed to  the  first  rank  in  Roman  portraiture.  Found  at  Rome. 

Height,  23  inches. 

From  the  Lelong  Collection,  Paris. 


( Illustrated) 


No.  57 — Bust  in  Marble.  Rom  an.  I Century  A.l). 


58 — Head  and  Torso  of  a Young  Bacchant  in  Marble.  Greco- 
Roman 

The  head  is  dressed  with  a wreath  of  vine  tendrils  and  grapes,  and  a 
flower  tendril  passes  down  the  body  from  the  left  shoulder  on  which 
hangs  a wine  skin  (partly  broken  away).  The  figure  is  an  excellent 
piece  of  sculpture  executed  in  the  Greek  manner.  Found  at  Rome. 

Height,  14<l/2  inches. 


59 — Caryatid  in  Marble.  Greco-Roman 

The  caryatid  consists  of  three  female  figures  in  a compact  group,  each 
facing  outward.  A bov  and  a satyr  are  fitted  in  closely  between  the 
other  figures  seen  from  the  front. 

Height,  2014  inches. 


60 — Statuette  of  Aphrodite  in  Marble.  Greco-Roman 

This  is  a reproduction  of  a life-size  figure,  the  type  of  which  was  very 
popular  in  late  Grecian  and  Roman  times.  The  figure  is  nude  except 
for  a fold  of  drapery  falling  to  the  ground  from  above  the  knees,  where 
it  was  originally  held  by  one  of  the  hands.  The  head  was  carved  sepa- 
rately from  the  torso,  and  is  loose,  but  fits  into  the  socket  prepared  for 
it.  The  figure  is  a good  example  of  the  small  work  of  the  period.  Found 
in  Spain. 

Height,  23 ^ inches. 


61 — Sphinx  in  Marble.  Roman.  I Century  A.D. 

A very  fine  example  of  a shortened  sphinx,  and  in  nearly  perfect  condi- 
tion. Though  of  the  Roman  period,  the  work  is  apparently  by  a Greek 
artist. 

Height,  2114  inches ; base,  9 by  714  inches. 


62 — Sarcophagus  in  Marble.  Roman.  II  Century  A.D. 

The  sarcophagus  bears  at  the  front  a funeral  design  in  relief.  In  the 
center  is  a portrait  bust  of  a woman  set  in  a medallion  which  is  held  by 
two  male  figures.  There  are  also  four  women  attendants,  two  of  whom 
carry  wreaths  and  another  a torch.  In  good  condition. 

Length,  24  inches;  height,  9 inches;  width.  12  inches. 


TANAGRA  FIGURES,  TERRA  COTTAS 
AND  FRESCOES 


63 — Statuette  in  Terra-cotta.  Tanagra,  Greece.  Ill  Cen- 
tury B.C. 

Dancer.  She  is  draped  in  a himation,  the  left  hand  on  her  hip ; the 
right  hand  drawing  her  dress  over  the  right  knee.  High  coiffure.  Traces 
of  color.  Archaic  style. 

Height , 8 inches. 


04 — Statuette  in  Terra-cotta.  Tanagra,  Greece, 
tury  B.C. 


Ill  Cen- 


Young  woman  standing.  She  is  dressed  in  a himation,  the  right  hand 
on  her  hip;  the  left  hand  holding  the  folds  of  her  costume;  the  head 
covered  with  the  himation. 


Height . Oho  inches. 


65 —  Statuette  in  Terra-cotta.  Alexandrian.  II  Century 

13. C. 

Priest  standing.  He  is  dressed  in  a tunic  adjusted  at  t lie  waist;  over 
which  is  a mantle  covering  the  shoulders.  The  hands  are  open  and 
spread  wide  apart.  On  black  wooden  base. 

Height , without  base , 814  inches. 

( Illustrated ) 

66 —  Fresco.  Greek.  Ill  Century  13. C. 

Representing  a griffon.  Found  at  Boscoreale,  near  Pompeii.  In  a 
wooden  frame. 

Height , 1 8 t/,  inches;  width,  1 ~d/_\  inches. 

67 —  Pompeian  Fresco  in  Color.  Roman.  I Century  A.l). 

The  design  represents  a man  lifting  a cupid  from  a cage,  which  holds 
also  two  others.  Venus  stands  by  watching  the  action.  Two  or  three 
other  designs  with  caged  cupids  have  been  found  at  Pompeii,  and  there 
has  been  much  conjecture  over  their  meaning,  without  any  definite  con- 
clusion resulting.  The  most  plausible  explanation  offered  is  that  Venus 
was  presumed  to  keep  on  hand  a supply  of  the  little  winged  messengers, 
to  be  used  as  occasion  required  for  touching  the  hearts  of  the  loveless. 
The  fresco  is  in  excellent  condition.  Found  at  Boscoreale  near  Pompeii. 
Framed  and  glazed. 

Size,  22  by  21  inches. 


68 —  Head  in  Terra-cotta.  Roman 

Head  of  a man  with  a beard;  tinted.  It  is  difficult  to  fix  the  period 
of  this  work.  Very  few  pieces  of  the  kind  have  survived,  and  there  is 
little  available  basis  for  studying  them.  Except  for  statuettes,  the 
use  of  terra-cotta  for  sculptured  forms  seems  to  have  been  generally 
abandoned  in  Home  in  early  Imperial  times,  but  possibly,  figures  such  as 
the  one  of  which  this  head  forms  part  were  occasionally  made  in  the 
provinces  at  a later  period  for  use  at  festivals.  Found  in  South  Italy. 

Height,  17  inches. 

69 —  Amphora  or  Terra-cotta.  Archaic  Greek.  V Century 

B.C. 

Amphora  with  cover;  red  background  with  black  figures,  polychrome 
in  dark  red.  On  one  side,  dance  of  satyrs;  on  the  other,  offer  of  the 
cock  to  the  athletes. 


Height,  11  inches. 


70 — Amphora  of  Terra-cotta.  Greek.  IV  Century  B.C. 

Amphora  with  black  ground,  red  figures,  representing  on  one  side  Thetis 
bringing  the  armor  to  Achilles;  on  the  other,  the  departure  of  warriors. 

Height,  14^4  inches. 

( Illustrated ) 


71 — Amphora.  South  Italian.  Ill  Century  B.C. 


Red  figure  amphora.  The  principal  design  shows  Aristogiton  in  his  usual 
marching  attitude,  with  a woman  standing  by,  wbo  is  apparently  the 
sister  of  Harmodius.  On  the  reverse  are  two  male  figures,  one  holding 
a lyre.  Found  in  Apulia. 


( Illustrated) 


Height,  14*1/0  inches. 


72 - — Large  Vase  (Skyphos)  in  Terra-cotta.  II  Century  A.D. 

Large  vase  with  cover  having  large  handles,  red  figures  on  a black 
ground.  On  one  side  scene  representing  the  presentation  of  wedding 
gifts ; on  the  other  side,  a betrothal  scene.  Upon  the  cover  a scene  with 
Eros.  Technique  very  rare;  resembles  the  work  of  a pen.  Beautiful 
workmanship.  Found  at  Ruvo  (Puglia). 

Height,  16  hiches. 

From  the  Borelli  Bey  Collection  of  Alexandria . 

( Illustrated ) 


73 — Large  Amphora  in  Terra-cotta.  II  Century  A.D. 


With  large  handles  and  masks.  Subject:  A young  boy  and  a young 
girl  bringing  offerings  to  a funeral  chapel,  in  which  is  a poet  seated  with 
a lyre.  Very  fine  piece,  found  at  Ruvo.  Copy  of  Flamboyant  style  of 
fourth  century  B.C. 


( Illustrated) 


Height,  25  inches. 


74 — Amphora  in  Terra-cotta  Italiote.  II  Century  A.D. 

Large  vase  with  two  large  handles  with  masks.  Found  in  South  Italy. 
Copy  of  Flamboyant  style  of  fourth  century  B.C. 


( Illustrated) 


Height,  25  inches. 


73 


74 


75 — Hydria.  Greek.  Ill  Century  B.C. 


Red  and  white  figures  on  black  ground,  representing  Hermes  sitting, 
before  him  Aphrodite,  who  is  speaking  to  Eros.  On  the  right  side,  a 
warrior  with  lances;  on  the  left  side,  a woman  standing.  Subject  un- 
edited. Found  in  Campania,  Italy. 

Height , 13  inches. 


( Illustrated) 


76 —  Amphora  of  Terra-cotta.  Italiote  Period.  II  Century 

A.D. 

Amphora  with  two  handles,  black  figures  on  red  ground;  on  the  two 
sides,  lions  with  manes  in  white.  Found  at  Pozzuoli,  Italy. 

Height , 9 inches. 

77 —  Drinking  Cup.  South  Italian.  II  or  III  Century  A.D. 

An  Italian  form  of  this  well-known  drinking  horn,  ornamented  with  the 
head  of  a Parthian  warrior. 


Height , (> Yi  inches. 


No.  75 — Hvduia.  Greek.  Ill  Century  B.C. 


GREEK  AND  ROMAN  GOLD  AND 
SILVER  OBJECTS 


78 — Gold,  Silver,  Hard  Stones,  Bronze,  Etc.  Greek.  VI 
Century  B.C. 

TREASURE  FOUND  IN  THE  REGION  OF  THE  CAUCASUS 

This  treasure  is  made  up  of  numerous  pieces  of  gold,  bronze,  silver,  etc., 
from  the  province  of  Kuban  in  the  Caucasus,  a part  of  Southern  Russia, 
which  at  the  time  of  Herodotus  was  called  Scythia.  This  region  has 
yielded  many  antiques,  but  this  is  the  only  collection  to  be  found  outside 
the  Museums  of  Petrograd,  Moscow  and  Tiflis.  Hence,  the  pieces  herein 
described  are  very  rare  and  exceptionally  interesting.  ( See  book, 
“Scythians  and  Greeks,”  by  E.  H.  Minns,  and  Metropolitan  Museum 
Bulletin,  Yol.  XIII,  No.  C,  p.  135.) 

The  collection  consists  of:  (a)  Gold  and  Silver  Pieces;  (b)  Bronze 
Pieces;  (c)  Miscellaneous  Pieces. 

LOT  A: 

Gold  diadem  of  four  round  gold  leaves;  in  center,  rosebuds  outlined  in  filigree. 
Diadem  in  gold,  three  rosebuds. 

Four  fragments  of  gold  leaves  stamped. 

Rods  in  electrum  (a  mixture  of  gold  and  silver). 

Small  gold  bracelet. 

Various  fragments  in  gold. 

Small  gold  disk-button. 

Fragment  of  a diadem  in  gold  with  designs  in  filigree.  Traces  of  white  enamel. 
Gold  bracelet,  one  end  a ram’s  head. 

Ring,  gold,  engraved  with  a sphinx. 

Two  gold  rosettes. 

Four  stamped  plaquettes,  gold,  rectangular  in  form.  On  each  one  is  stamped 
the  head  of  a fantastic  animal. 

Scabbard  of  a sword  with  two  stamped  gold  plaquettes;  tiger’s  head  and  ornament. 
Fragment  of  sword  with  chasing  in  gold  and  silver. 

Gold  pendant,  with  three  chains  in  braided  gold;  at  the  ends,  flowers. 

Bracelet  of  twisted  gold. 

Pair  of  round  gold  earrings  with  small  round  drops. 

Pair  of  round  gold  earrings  with  small  round  drops. 

[ Continued 


No. 


78 — Shirt  with  Gold  Ornaments.  Greek.  VI  Century  B.C. 


[No.  78 — Continued ] 

Pair  of  gold  earrings  in  form  of  vases,  with  filigree  ornamentation. 

Pair  of  gold  earrings  in  the  form  of  small  roses. 

Gold  earring,  three  drops,  one  in  electrum,  one  in  gold  and  the  third  in  hard  stone. 

Small  gold  vase. 

Gold  ring. 

Bracelet  in  twisted  gold. 

Shirt  or  smock  with  gold  ornaments  of  various  forms.  A series  of  small  plates, 
representing  deer  and  winged  lions.  Others,  varied  ornamentation  and  small 
rosettes.  The  original  shirt  exists,  hut  in  pieces. 

Six  silver  pendants,  an  earring  with  eight  round  silver  drops,  a small  silver 
bracelet  and  two  silver  ornaments. 

Two  silver  buckles. 

Silver  bowl  engraved  with  lion  and  ornaments.  Period  of  the  Saeae. 

Small  casket  in  wood  with  gold  ornamentation.  On  top,  heads  of  deer  and  small 
doves  in  gold. 

Buckle  in  bronze  covered  with  gold,  representing  a warrior  delaying  the  head 
of  an  enemy  whom  he  had  decapitated. 

LOT  B: 

Six  arrow-points  in  bronze,  three  lance  points,  an  axe,  a casse-tete  in  bronze  and 
another  in  granite. 

Six  disks  in  bronze,  of  different  sizes,  representing  mirrors  and  ornaments  of 
harness  mountings. 

Seven  pieces  in  bronze  representing  bridles  for  horses. 

Two  bronze  clasps  with  designs  in  relief. 

Mirror  in  bronze,  four  pins,  two  pendants  and  three  bracelets  in  bronze. 

Bird  carrying  a fish,  bronze;  three  pendants  in  bronze. 

Various  ornaments  in  bronze  from  harness;  buttons,  pendants,  buckles,  etc. 

Fragments  in  bronze,  ornaments  for  harness  or  armor. 

LOT  C: 

Fragment  of  a vase  in  terra-cotta,  black  ground,  red  figures. 

Stone  mold  for  gold  work. 

Ten  pieces  of  terra-cotta,  of  which  eight  represent  buttons  with  head  of  Medusa 
in  relief.  Seven  pieces  of  hard  stone  and  one  fragment  of  ivory  with  engraved 
designs. 

Four  necklaces  in  composition  of  glass  and  hard  stones.  Bracelet,  blue  glass. 
A small  glass  head. 

Bowl  in  terra-cotta,  cream  ground  with  figures  in  black  and  red.  Woman  seated 
playing  the  lyre. 


70 — Bracelet  ix  Silver  and  Gold.  Greek.  IV  Century  B.C. 

Silver  bracelet  with  ends  in  the  form  of  calves’  heads  in  gold. 

Diameter , 2%  inches. 

80 — Bracelet  in  Silver  and  Gold.  Greek.  IV  Century  B.C. 

Same  as  preceding. 


81 — Pair  of  Earrings  in  Gold.  Greek.  IV  Century  B.C. 

The  earrings  are  composed  of  rosettes  in  gold,  with  little  chains  sus- 
pended with  stones  and  pearls.  In  the  middle  are  two  enameled  cocks. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


82 — Ring  in  Gold  with  Engraved  Carnelian.  Greek.  Ill 
Century  B.C. 

The  engraving,  on  stone,  represents  Hercules  carrying  a bull  upon  his 
shoulders.  The  mounting  is  Roman. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


83 — Charm  in  Gold.  Roman.  II  Century  B.C. 

A gold  charm  in  the  form  of  a cylindrical  box,  with  a lion’s  head  in  relief 
on  either  end,  and  a gold  plate  inside  with  the  inscription  in  Latin,  say- 
ing, “Do  not  abandon  me  while  my  enemies  live.” 

Length , 2 '/j  inches. 


84 — Earrings  in  Gold.  Roman.  II  Century  B.C. 

A pair  of  earrings  in  gold,  with  pendants  representing  sphinxes,  in  gold. 

8.j — Earrings  in  Gold.  Roman.  II  Century  B.C. 

One  gold  earring,  with  pendant  in  the  form  of  a bull. 


80 — Small  Vase  with  Cover  in  Silver.  Alexandrian.  II 
Century  B.C. 

The  surface  is  decorated  with  representations  of  two-horse  chariot 
races.  Found  at  Boscoreale,  Italy. 


Height , 3 '/>  inches. 


87 — Bowl  in  Silver.  Greek.  Ill  Century  B.C. 

The  bowl  is  decorated  in  fine  relief  with  Bacchic  vintage  scenes  in  which 
satyrs  gather  in  and  tread  out  the  grapes,  a statue  and  a term  of 
Bacchus  varying  the  strong  action  indicated.  The  work  is  firm  and 
delicate,  and  the  bowl  generally  is  in  excellent  condition.  Excavated  in 
Greece. 


Diameter,  G:>4  inches. 


88 — Small  Vase  in  Silver.  Greek.  II  Century  B.C. 

The  outer  surface  of  the  vase  is  decorated  with  Bacchic  scenes,  masks, 
etc.,  in  relief.  The  sculpture  is  of  a high  order,  and  the  vase  is  a gem 
of  Greek  silver  work,  rarely  matched  for  beauty  and  condition.  Found 
in  Magna  Graecia. 

Height,  2%  inches. 


89 — Statuette  of  Aphrodite  in  Silver.  Roman.  I Century 

A.U. 

The  goddess  stands  nude  in  a resting  attitude,  holding  a mirror  in  her 
right  hand  and  another  toilet  article  in  her  left.  The  hair  is  dressed 
with  a sphendone.  On  a lapis-lazuli  base. 


From  the  Borelli  Bey  Collection  of  Alexandria. 


Height,  434  inches. 


90 — Small  Vase  in  Silver.  Roman.  I Century  B.C. 

Small  vase  in  silver,  lip  three-lobed,  handle  of  twisted  grape-vines, 
decorated  with  a small  grotesque  mask,  having  t lie  head  of  a satyr.  An 
inscription  indicates  the  name  of  the  owner  of  the  vase:  M.  LVCIANVS, 
PI.  Brought  to  light  in  the  neighborhood  of  Laroche  (Yonne)  during 
June  of  1913,  near  tine  excavation  of  a Roman  villa. 

Height , 5*4  inches. 


91 — Small  Vase  in  Silver.  Roman.  I Century  B.C. 

Small  silver  vase,  spout  three-lobed,  the  counterpart  of  the  one  previ- 
ously described  and  brought  to  light  contemporaneously  in  the  same 
locality  as  the  preceding.  Only  the  inscription  is  brief  here,  being 
composed  solely  of  the  letters  V.  P.  I. 


Height , 5 l/i  inches. 


92 — Bowl  in  Silver.  Roman.  1 Century  B.C. 

Silver  bowl  wrought  in  raised  effect  with  decorations  of  flowers  and 
stems  in  relief.  It  belongs  to  the  same  group  of  objects  of  the  gold- 
smith’s art  of  which  the  two  small  vases,  previously  described,  form  part, 
and  it  was  found  together  with  them.  Underneath  there  are  repeated 
the  letters  PI  in  addition  to  the  mark  of  the  weight. 

Diameter,  inches. 


93 — Statuette  in  Silver.  Alexandrian.  II  Century  A.D. 

The  figure  represents  a dancer  attired  in  a long  single  flowing  garment, 
girdled  at  the  waist.  Her  right  foot  touches  the  ground  lightly,  the 
left  being  poised  in  the  air.  The  whole  action  is  exceedingly  graceful. 
On  a base  of  red  Greek  marble. 

H eight,  8 inches. 

From  the  Borelli  Bey  Collection  of  Alexandria. 


BYZANTINE  OBJECTS 


94 — Figure  of  a Baby  in  Porphyry.  Byzantine 

The  baby  sleeps  on  a cushion  on  a rectangular  base;  probably  the  por- 
trait of  a baby  of  some  great  family.  Charming  composition.  Very 
rare  specimen. 

Length , 22  inches;  width , 11  inches. 


95 —  Plaque  in  Gold.  Byzantine 

In  the  middle  sits  the  Eternal  Father;  on  either  side  the  twelve  Apostles 
are  arranged  in  groups  of  two.  Geometric  design  in  border.  Gold 
repousse  work. 

Length , 7 inches;  width,  1 V>  inches. 

96 —  Cameo  in  Jasper:  The  Crucifixion.  Byzantine.  XI  Cen- 

tury 

Nailed  to  the  Cross  hangs  the  body  of  the  dead  Christ.  A halo  is 
arou  nd  His  1 lead  and  on  either  side  is  the  sun  and  moon.  The  Virgin 
is  seen  to  the  left.  She  wears  a long  dress  and  a full  mantle  which 
covers  her  head,  and  is  draped  over  her  garment.  To  the  right  is  St. 
John  with  a draped  mantle  over  his  gown.  He  is  holding  a book  in  his 
left  hand  while  his  right  is  placed  over  his  heart. 

The  influence  of  Greco-Roman  art  is  still  noticeable  in  this  representation,  espe- 
cially in  the  figure  of  St.  John.  It  probably  originally  formed  a binding  of  a missal 

Height,  2y2  inches;  -width,  21/>  inches. 
From  the  Guilliou  Collection  of  Bayonne. 


97 — Two  Stirrups  in  Iron,  Chased  in  Gold.  Spanish-Moorish. 
XII  Century 

The  warrior  who  captured  these  stirrups  from  the  enemy  hammered  out 
the  name  that  was  cut  in  the  border  and  substituted  his  own. 


Height,  8I/4  inches;  width,  7%  inches. 


NOTE 


This  collection  of  Gothic  and  Renaissance  art  objects  has  been 
formed  by  C.  & E.  Canessa,  whose  name  is  associated  with  acquisi- 
tions made  by  the  greatest  museums  and  private  collections,  as  well 
in  Europe  as  in  America.  The  quality  of  the  objects  ranges  the 
collection  among  the  ones  of  greatest  importance.  The  various  nature 
of  the  objects  represented  enhances  the  more  its  value  and  interest 
as  they  represent  rare  specimens  of  two  great  periods  in  art.  the 
French  Gothic  and  the  Italian  Renaissance. 

The  French  Gothic  productions  are  represented  by  some  masterly 
examples  in  sculpture,  in  champleve  enamels,  in  carved  ivories  and  in 
furniture. 

The  figure  in  wood  supposed  to  represent  St.  Louis  (Xo.  120) 
is  one  of  the  finest  pieces  of  sculpture  in  wood  extant  from  the  thir- 
teenth century,  and  shows  in  a charming  fashion  the  direct  influence 
of  the  best  sculptures  of  the  Rheims  Cathedral.  Among  later  groups 
there  is  one  of  the  fourteenth  century,  also  in  wood,  representing  the 
Virgin  and  Child  (Xo.  121),  which  is  a fine  example  showing  the  evo- 
lution and  transformation  of  Gothic  sculpture  in  France.  In  this 
group  the  Virgin  unites  the  human  qualities  which  make  her  a real 
mother  with  the  idealistic  conception  of  the  sculpture  of  the  cathedrals. 
Various  other  groups  are  good  illustrations  of  further  development 
and  changes  taking  place  in  the  evolution  of  French  medifeval  sculp- 
ture when,  under  the  Burgundian  influence,  the  search  for  life  and 
expression  superseded  the  essential  qualities  of  the  sculptors  of  the 
cathedrals — idealism  and  great  sense  of  beauty. 

Though  there  are  but  a few  examples  of  Limoges  enamels  in- 
cluded in  the  collection,  they  are  of  great  importance.  The  reliquary 
showing  the  Virgin  and  Child  seated  on  a throne  is  one  of  the  best 
examples  in  genre  now  in  existence  (Xo.  115).  Owing  to  its  value 
and  importance,  a special  study  was  devoted  to  it  in  the  June  issue 
of  the  International  Studio.  The  chasse  of  about  the  same  period 
(No.  114)  also  admirably  shows  the  beautiful  workmanship  of  the 
Limoges  champleve  productions. 

Sculpture  in  ivory  is  represented  by  several  interesting  examples 
of  fourteenth  century  workmanship,  and  furniture  by  a dresser 
(Xo.  175)  and  a cabinet  (No.  204)  of  the  greatest  interest. 

Passing  from  the  French  productions  of  the  Gothic  period  to  the 


Renaissance  productions  of  Italian  origin,  we  see  a most  valuable 
ensemble  in  its  various  phases  and  aspects. 

The  collection  of  sculpture  is  represented  by  examples  ranging 
from  the  early  fourteenth  to  the  sixteenth  century  and  showing  the 
evolution  and  transformation  through  which  it  passed.  There  is  a 
Madonna  and  Child  (No.  131)  from  about  1320  of  the  School  of 
Giovanni  Pisano;  there  is  a “Putto”  in  Bronze  (No.  27.1)  of  unusual 
interest  and  beauty  by  Andrea  del  Verrocchio;  four  marble  busts  in 
profile  representing  personages  from  the  Court  of  Milan  (No.  138) 
by  Benedetto  Briosco;  a small  bust  in  marble  by  Gian  Cristoforo  Ro- 
mano (No.  143)  and  many  others  of  like  importance  and  interest. 

The  collections  of  furniture  and  majolica  are  of  the  finest.  There 
is  a Medici  porcelain  plate  (No.  252)  of  the  late  sixteenth  century 
of  the  greatest  rarity,  as  there  are  not  more  than  about  thirty-six 
pieces  extant.  Of  great  interest  is  also  the  Casa  Pirota  plate  (No. 
245)  representing  the  Coronation  of  the  Duke  of  Parma  by  Pope 
Paul  III. 

Goldsmith  work  is  well  represented  by  a cup  in  rock  crystal  (No. 
318)  mounted  in  gold  and  enamel,  by  Benvenuto  Cellini,  whose  in- 
fluence is  also  seen  in  an  agate  bowl  (No.  319)  mounted  in  enameled 
gold  and  fine  stones  and  in  a cross  in  rock  crystal  (No.  334).  There 
is  also  a large  reliquary  in  silver  (No.  335)  representing  the  art  of 
Valerio  Belli  Vicentino;  a small  statuette  representing  St.  John  the 
Baptist  (No.  327)  which  seems  to  be  the  work  of  Nicola  da  Guardia- 
grele,  etc. 

The  collection  of  jewelry,  formed  of  pieces  well  known  to  ama- 
teurs and  collectors,  comes  from  the  famous  Spitzer  Collection  and 
from  the  collection  of  Guilhou,  Bayonne.  Most  of  them  are  Italian 
of  the  sixteenth  century  and  they  belong  to  the  finest  productions  of 
the  time. 

This  short  introduction  can  give  but  a very  feeble  idea  of  the 
importance  of  the  collection.  Its  idea  has  been  merely  to  indicate  in 
a general  way  its  scope,  and,  therefore,  no  attempt  has  been  made  to 
mention  each  object  and  to  bring  out  its  interest.  Most  of  them  have 
been  omitted,  and  among  them  are  some  of  great  importance. 

(Signed)  Stella  Rubinstein, 

Docteur  de  VUniversite  de  Paris. 


IVORIES  OF  XI,  XII,  XIII,  XIV,  XV, 
AND  XVI  CENTURIES 


98 — Plaquette  in  Ivory:  St.  George  Killing  the  Dragon. 
Byzantine.  XII  Century 

St.  George  in  a short  mailed  garment  is  seated  upon  a horse.  Back  of  his 
head  is  a halo.  He  holds  the  reins  in  his  right  hand  while  in  his  left  is  a 
long  spear.  This  he  is  thrusting  into  the  mouth  of  the  dragon  which  is 
lying  on  the  ground  under  the  horse.  In  a red  velvet  frame. 

Height , 2 inches;  width,  1%  inches. 

There  are  similarities  with  the  plaquette  in  the  Maurice  Kann  Collec- 
tion representing  the  same  subject  and  reproduced  in  the  catalogue 
under  the  number  22(5. 


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99 — Plaquette  in  Ivory.  Byzantine.  Late  XII  Century- 

The  plaquette  is  divided  into  twelve  sections.  The  subjects  represent, 
beginning  with  the  upper  row  at  the  left:  The  Annunciation;  The  Nativ- 
ity; The  Presentation  in  the  Temple;  The  Baptism;  The  Transfigura- 
tion ; The  Entry  into  Jerusalem ; The  Crucifixion ; The  Apparition  of 
Christ  to  the  Apostles;  The  Apparition  of  Christ  to  Mary  Magdalen; 
The  Ascension;  The  Pentecost;  The  Death  of  the  Virgin.  Above  each 
representation  are  illegible  inscriptions.  In  a red  velvet  frame. 


Height , 2%  inches ; width,  2 inches. 


100 — Diptych  in  Ivory.  Romanesque  Period:  Rhenish.  XI- 
XII  C ENTURY 

Under  rounded  arches  separated  by  columns  are  four  figures  standing 
on  low  pedestals.  To  the  left  are  the  Christ  and  the  Virgin;  to  the 
right,  two  Saints.  They  all  wear  long  gowns,  pleated,  and  ornamented 
with  passementerie  borders,  and  over  the  gowns  are  full  draped  mantles. 
Nimbi  are  behind  their  heads,  and  it  is  interesting  to  notice  that  they 
all  show  crosses,  for,  as  we  know,  it  was  generally  only  the  privilege  of 
the  Christ  to  have  His  nimbus  crossed.  Their  feet  are  shod,  except 
those  of  the  Christ,  who  is  always  represented  barefooted.  The  shoes 
show  the  characteristic  style  of  those  worn  in  the  tenth,  eleventh  and 
in  the  beginning  of  the  twelfth  centuries.  In  the  upper  part  is  seen 
an  architectural  background  composed  of  houses.  In  a red  velvet  frame. 

Height,  5^/2  indies ; length,  6^/2  inches. 

Analogies  in  architectural  background  and  columns  can  also  be  found 
with  another  Rhenish  plaque  corning  from  the  Spitzer  Collection 
and  reproduced  in  Molinier:  “ Les  Ivoires p.  117.  There  are  also 
some  analogies  with  types  and  decorative  details  shown  in  several 
Rhenish  plaques  of  the  twelfth  century  in  the  British  Museum, 
reproduced  in  catalogue  of  the  Ivory  Carvings  of  the  Christian 
Era  in  the  British  Museum,  pi.  XXXIII,  Nos.  63,  66,  67,  68. 


( Illustrated) 


No.  100 — Diptych  in  Iyory.  Romanesque  Period:  Rhenish. 

XI-XII  Century 


101 — Liturgical  Comb  in  Carved  Ivory.  French:  Carlovingian 
Period.  IX  Century 

A row  of  teeth  is  on  each  end  of  the  comb,  one  small,  the  other  large. 
In  the  center  is  a decoration  of  the  finest  quality  with  a motif  of  ram- 
pant stags.  At  that  time  these  combs  were  used  by  the  priests  to 
arrange  their  hair  before  performing  the  Mass.  The  opinions  con- 
cerning their  periods  are  divided.  Some  think  them  to  be  of  the  sixth, 
seventh  and  eighth ; others,  like  Molinier,  ascribe  them  to  the  ninth, 
tenth  and  even  eleventh  century. 

Length , 11%  inches;  width,  4%  inches. 

There  are  analogies  with  the  liturgical  comb  of  St.  Loup,  Sens,  repro- 
duced in  Molinier  : “ Histoire  des  Arts  applique  a Vindustrie : Les 
Ivoires p.  148,  and  with  a comb  in  the  South  Kensington  Museum 
coming  from  the  Spitzer  Collection,  reproduced  in  Griggs:  “ Port- 
folio of  Ivories and  in  the  Spitzer  catalogue,  I,  pi.  TV,  No.  9. 

( Illustrated ) 


No.  101  -L  iturgical  Comb  in  Carved  Ivory. 
French:  Carlovingiax  Period.  IX  Century 


102 — Leaf  or  a Diptych  in  Ivory:  The  Crucifixion.  French. 
XIV  Century 

Nailed  to  the  Cross  with  outspread  arms  hangs  the  dead  Christ.  On 
the  left  is  standing  the  Virgin  in  a draped  mantle  over  her  dress;  on 
the  right,  St.  John  wearing  a full  mantle  over  his  gown.  Both  are  in 
profound  despair  and  hold  closed  books  in  their  hands.  Above  are 
trefoiled  arches  and  other  architectural  details.  Below  is  a circle  which 
probably  originally  enclosed  a coat-of-arms.  In  red  velvet  frame. 

Height,  V/g  inches ; width,  2%  inches. 

There  arc  titan//  analogies  with  several  leafs  of  diptychs  in  the  Berlin 
Museum  reproduced  in  Vogc:  “Elfenbein  BUdwerke,"  pi.  34,  X os. 
127,  130,  132. 


103 — Leaf  of  a Diptych  in  Ivory.  French.  Second  Half  of 
XIV  Century 

Under  three  trefoiled  arches  imitating  Gothic  architecture  of  the  four- 
teenth century  is  seen  in  the  center  a tree  on  which  is  seated  a Cupid  hold- 
ing an  arrow  in  each  hand  and  directing  them  toward  two  young  couples, 
seen  on  either  side  of  the  tree.  The  one  to  the  right  is  a young  lady 
dressed  in  the  fashion  of  the  time,  before  whom  a young  man  is  kneeling 
declaring  his  love.  At  the  left  the  young  man  is  caressing  the  lady’s  chin. 
The  influence  of  the  literature  of  the  time  is  obvious  in  this  represen- 
tation taken  from  civil  life.  Scenes  of  this  kind  and  others,  also  inspired 
by  the  literature  of  the  period,  can  be  seen  on  mirror  cases,  toilet  boxes, 
combs,  etc.,  and  it.  is  interesting  to  observe  the  feminine  influence  in 
these  art  productions.  In  a red  velvet  frame. 

Height . 3%  inches;  width,  2%  inches. 

There  is  a very  similar  leaf  of  a diptych  in  the  Berlin  Museum  reproduced 
in  Yoge:  “Elfcnbein  Bildwerlc pi.  32,  No.  99. 


104 — Group  in  Ivory:  Virgin  and  Child.  French.  Beginning 
of  XIV  Century 

The  Virgin  wearing  a simple  dress  over  which  is  draped  a full  mantle 
is  seated  on  a low  seat.  Over  her  hair  falling  loosely  to  her  shoulders  is 
a veil  and  a crown.  On  her  lap  the  Infant  is  standing,  with  His  arms 
around  His  Mother,  and  He  is  smiling  at  her.  His  hair  is  curly  and  His 
expression  charming.  The  Virgin  also  smiles,  and  while  supporting  the 
Infant  with  her  left  arm  she  is  preparing  to  nurse  Him.  On  a red  velvet 
base. 

The  type  and  costumes  of  the  Virgin  and  of  the  Child  show  analogies  to  the 
Virgin  and  Child  of  the  Schewitch  Collection,  reproduced  in  catalogue  No.  150. 

Height , without  base,  5 inches. 

From  the  Mannheim  Collection. 

The  representation  of  the  Madonna  nursing  the  Child  teas  known  in  the 
Catacombs  of  Priscilla,  in  the  second  century,  but  was  gradually 
superseded  by  the  Madonna  triumphant . This  theme  was  again  sup- 
planted by  the  more  human  representations  in  the  French  cathedrals 
in  the  thirteenth  century,  and  the  workers  in  ivory,  following  closely 
the  sculptors,  adopted  the  same  system  of  representation. 


105 — Pastoral  Staff  in  Carved  Ivory.  French  (?).  XIV 
Century 

The  stem  of  the  staff  is  decorated  with  vine  leaves.  In  the  volute  is 
represented,  on  one  side  the  Crucifixion  showing  the  dead  body  of  the 
Christ  nailed  to  the  Cross  with  St.  John  and  the  Virgin  on  either  side 
of  Him.  On  the  other  side  is  seen  the  Coronation  of  the  Virgin  by  the 
Christ,  who  is  seated  next  to  her.  Below  the  volute  is  a kneeling  angel 
with  outspread  wings  in  the  attitude  of  prayer.  The  knot  is  formed  by 
Apostles  standing  in  niches  which  are  decorated  with  Gothic  tracery 
and  pinnacles. 

Height , 10%  inches. 

There  is  great  similarity  to  two  crosses  in  the  Spitzer  Collection  repro- 
duced in  Sale  Catalogue , Nos.  127  and  128.  Many  analogies  can  also 
he  found  with  a cross  in  the  Cluny  Museum  in  Paris  which  shows  a 
similarly  kneeling  figure  below  the  volute.  It  is  reproduced  in 
Molinier:  “ Les  Ivoires p.  191.  Many  points  of  resemblance  also 
exist  with  four  pastoral  staffs  in  the  South  Kensington  Museum 
reproduced  in  Griggs:  “ Portfolio  of  Ivories .”  Also  with  a pastoral 
staff  in  the  Berlin  Museum  reproduced  in  Voge : “Elfenbein  Bild- 
werke pi.  35. 


106 — Diptych  in  Ivory.  French:  Gothic  Period.  XIV  Cen- 
tury 

The  diptych,  divided  into  eight  parts,  represents  scenes  from  the  life 
of  the  Virgin  and  of  the  Christ,  under  trefoiled  Gothic  arches.  The  first 
of  the  scenes,  beginning  at  the  bottom  and  at  the  left,  shows  the  An- 
nunciation. The  angel,  with  short  curly  hair,  wearing  a full  draped 
mantle  and  with  outspread  wings,  holds  a scroll  in  his  left  hand.  He 
is  saluting  the  Virgin  in  bringing  her  the  holy  Message,  which  she  re- 
ceives shyly,  standing,  in  a simple  dress  over  which  a mantle  falls.  The 
Holy  Spirit  in  the  form  of  a Dove  is  bending  over  her  head. 

The  second  scene  represents  the  Nativity.  The  Virgin,  dressed  in 
the  same  way,  is  reclining  on  a couch  and  nursing  the  Infant.  The  tradi- 
tional ox  and  ass  are  seen  below.  To  the  right,  looking  down  on  the 
Mother  and  Child,  is  seated  St.  Joseph,  and  above  are  two  shepherds 
listening  to  the  angel  who  is  giving  them  the  wonderful  news. 

The  third  scene  shows  the  adoration  of  the  Magi.  The  Virgin  is 
crowned  and  seated,  holding  the  Infant,  who  is  standing  on  her  lap, 
and  is  taking  the  gift  which  the  oldest  of  the  Three  Kings,  kneeling,  is 
giving  to  Him.  The  two  others  stand  behind  holding  their  gifts  and 
assisting  at  the  scene. 

The  fourth  scene  shows  the  Presentation  in  the  Temple.  The  Vir- 
gin, wearing  a full  mantle  over  her  robe,  is  presenting  the  Infant  to  the 
Priest  Simeon,  seen  to  the  right,  supporting  the  Child  standing  on  the 
altar. 

The  fifth  scene  represents  the  Flagellation.  The  Christ,  naked  ex- 
cept for  His  loins,  is  attached  to  the  pillar.  Two  scourgers  in  short 
gowns  are  torturing  Him. 

The  sixth  scene  represents  the  dead  Christ  hanging  on  the  Cross. 
To  the  left  is  standing  the  horrified  Virgin,  bending  back  in  despair; 
to  the  right  is  St.  John  turning  away  from  the  horrible  spectacle,  his 
head  leaning  on  his  hand. 

The  seventh  scene  shows  the  Descent  from  the  Cross.  Joseph  of 
Arimathea  receives  in  his  arms  the  body  of  the  dead  Christ,  while  the 
Virgin  in  profound  despair  is  supporting  and  caressing  one  of  His  arms, 
and  St.  John  is  holding  the  other. 

The  eighth  scene  shows  the  Entombment.  Joseph  of  Arimathea 
and  Nieodemus,  each  holding  an  end  of  the  shroud  on  which  reposes  the 
body  of  the  dead  Christ,  are  lowering  it  into  the  tomb.  Several  person- 
ages are  seen  behind,  one  of  whom  is  holding  an  ointment  box.  In  red 
velvet  frame. 

This  diptych  is  a very  fine  example  of  ivory  carving  of  the  fourteenth  century  in 
France.  Many  of  them  have  come  down  to  ns,  and  we  are  able  to  admire  in  them 
the  deep  religious  feeling,  rhythmic  lines,  simplicity  and  very  skilful  execution. 

Height , 7^4  inches;  width , 8 inches. 

This  diptych  shores  very  great  analogy  with  a diptych  reproduced  in 
the  catalogue  of  the  Schewiteh  Collection,  where  most  of  the  scenes 
of  this  diptych  are  represented  in  the  same  way.  It  is  interesting 

[ Continued 


No.  106 — Diptych  in  Ivory.  French:  Gothic  Period.  XIV  Century 


[No.  106 — Continued ] 

also  to  compare  it  with  the  dipt yell  in  the  Carrand  Collection  re- 
produced in  “ Les  Arts,"  1904,  No.  32,  p.  22;  with  two  dipt ychs 
in  the  Chappey  Collection,  Nos.  1682,  1683,  and  with  one  in  the 
collection  of  Maurice  Kami,  Nos.  217,  219. 

( Illustrated) 


107 — Group  in  Ivory:  Tpie  Virgin  and  Child.  French.  First 
II  ALF  OF  XIV  c entury.  (School  of  Champagne) 

The  Virgin  is  standing  and  wears  a long  gown  girdled  at  the  waist  over 
which  is  draped  a mantle.  Over  her  loose  curly  hair  is  a veil ; in  her  right 
hand  she  holds  a flower.  The  Infant  is  on  her  left  arm,  wearing  a long 
gown  and  holding  a bird  in  His  hand.  The  Mother  and  Child  are  smiling 
at  each  other.  On  a red  velvet  stand. 

Height,  7%  inches. 

There  are  many  points  of  resemblance  in  the  draperies,  the  pose  and 
the  arrangement  of  the  hair  of  the  Virgin  to  the  Virgin  of  the  An- 
nunciation from  the  Doistau  Collection.  The  draperies  and  pose 
are  also  similar  to  those  of  the  Virgin  from  the  Timbal  Collection 
now  in  the  Louvre.  The  draperies,  the  pose  and  the  way  she  holds 
the  Child  resemble  another  Virgin  in  the  Louvre  from  the  middle 
of  the  fourteenth  century.  (See  Vitry  et  Brie  re:  “ Documents  de 
Sculpture  franpa ise  du  Moyeudge,"  pi.  94,  Nos.  3 and  5,  and  pi.  95, 
No.  8).  The  Child  and  the  way  it  is  held  are  similar  to  the  group 
from  the  Troyes  Cathedral  reproduced  in  Kocchlin  et  Marquet  de 
Vasselot : “La  Sculpture  a Troyes,"  p.  6,  fig.  5. 


( Illustrated) 


No.  107 — Group  in  Ivory.  The  Virgin  and  Child. 
French.  First  FI  ALE  OF  XIV  Century. 
(School  of  Champagne) 


108 — Pax  in  Gilded  Bronze  and  Ivory.  French  (?).  XIV 
Century 

The  Pax  is  in  gilded  bronze  with  filigree  foliage  set  with  jeweled  stones 
in  the  lower  part.  The  Virgin  and  Child  are  in  ivory  in  applied  relief. 
She  is  seated  on  a throne  wearing  a full  mantle  over  a closely  fitted  di’ess. 
On  her  curly  hair  is  a veil  on  which  is  a jeweled  crown.  She  holds  with 
her  right  hand  the  Infant  Jesus,  who  is  standing  on  her  lap  in  a long 
gown  with  passementerie  around  the  neck.  His  hair  is  curly  and  with 
a smiling  expression  He  is  looking  down  to  the  apple  which  He  holds  in 
His  right  hand,  while  with  the  left  He  is  taking  His  Mother’s  veil.  The 
Virgin  also  looks  smiling  down  while  holding  a flower  in  her  left  hand. 

Height , 81/4  inches;  width,  if, 4 inches. 
From  the  Guilhou  Collection  in  Bayonne. 

There  is  in  the  Bavarian  National  Museum  in  Munich  a group  in  ivory 
almost  identical  with  it.  The  Virgin  shows  the  same  type,  pose 
and  draperies : the  Infant,  also,  is  very  similar,  hut  instead  of 
holding  an  apple  in  His  right  hand  He  is  taking  a bird  from  His 
Mother's  hand.  The  group  has  no  Pax.  It  is  reproduced  in  the 
“ Katalog  des  Bayerischen  Nationalmuseums,”  vol.  VI,  No.  1374. 


109 — Two  Statuettes  in  Ivory.  Rhenish.  First  Half  of  XVI 
Century 

Two  nude  female  figures  are  standing  on  low  hexagonal  bases.  Their 
elaborate  hairdresses  are  covered  with  veils,  the  ends  of  which  they  are 
holding  in  their  hands.  A small  dog  is  seen  on  each  base.  Very  rare 
specimens. 

Heights,  3 and  3 V>  inches. 

There  is  in  the  Louvre  a statuette  of  Psyche  reproduced  in 
Molinier:  “Lcs  Ivoires,"  p.  219,  showing  great  similarity  to  our 
statuettes.  There  are  also  two  statuettes  in  boxwood,  coming  from 
the  Spitzer  Collection  and  reproduced  in  Sale  Catalogue,  Nos.  2302- 
2303,  very  similar  to  them. 


110 — Baby  in  Ivory.  Spanish.  XVI  Century 

One  piece  of  ivory  carved  to  represent  a baby  sleeping. 

Length,  9 inches. 


Ill — Barge  Base  of  a Cross  in  Ivory.  French.  XVI  Century 

Base  carved  with  bas-reliefs  representing  the  Scene  of  the  Passion.  In 
the  center,  below,  a pelican  and  its  young  ones. 

Height,  7 inches;  length,  9 inches. 


■tow* 


112 — Pax  in  Carved  Ivory  and  Gilded  Silver.  French.  Pe- 
ginning of  THE  XVI  C ENTURY 

Representing  the  Descent  from  the  Cross.  In  the  center  a plaque  in 
ivory  represents  the  Descent  from  the  Cross.  The  drooping  body  of 
the  dead  Christ  is  supported  by  Joseph  of  Arimathea  and  Nicodemus. 
At  the  foot  of  the  Cross  is  the  fainting  Virgin,  looking  up  in  despair, 
supported  by  St.  John,  and  Mary  Magdalen,  kneeling  with  her  arms 
around  the  Cross.  To  the  right  and  to  the  left  are  many  other  person- 
ages assisting  at  the  scene,  and  on  either  side  of  the  Cross  is  a thief. 
The  Pax  itself  is  in  gilded  silver,  decorated  with  small  rosettes  and 
showing  on  top  a fronton  formed  of  leaf  work  and  on  the  bottom  a 
scrolled  design  and  a frieze  of  leaves. 

Height , 5 inches ; width,  3*4  inches. 

From  the  collection  of  E.  Gnilhou  of  Bayonne. 


113 — Pox  in  Ivory.  Portuguese.  XVI  Century 

Wooden  box,  covered  with  ivory  plaques  engraved  in  a beautiful  Sara- 
cenic design  with  birds  and  other  motifs.  Ball  feet.  Silver  mountings. 

Length,  9%  inches;  width,  7%  inches;  depth,  3%  inches. 


CHAMPLEVE  AND  TRANSLUCENT 
ENAMELS 


114 — Reliquary  Chasse  in  Champleve  Enameled  Bronze. 
French:  Limoges.  Late  XIII  Century 

Dark  blue  enamel  on  copper,  decorated  with  gilded  foliage,  forms  the 
background.  Incised  and  engraved  angels  with  outstretched  wings  seen 
to  the  waist  are  enframed  in  turquoise  medallions  with  white  enameled 
and  gilded  borders  all  around  the  reliquary.  The  nimbi  are  in  blue, 
white  and  gold.  The  lock  is  fashioned  in  the  form  of  a fantastic  animal. 

Height,  9 inches ; width,  8%.  inches. 
From  the  collection  of  Prince  Baucina  of  Palermo. 

There  is  an  almost  identical  reliquary  reproduced  in  the  Sale  Catalogue 
1914  of  the  Societe  Seligman,  No.  51,  decorated  in  exactly  the  same 
way.  The  only  difference  consists  in  the  cresting.  There  is  also 
a chasse  in  the  Church  of  Lamonjoie,  in  France,  in  the  department 
of  Lot  et  Garonne,  exhibited  in  Paris  in  1900  under  the  number 
*2469,  which  shows  many  analogies  to  this  reliquary . Another  one 
in  the  Blanche!  Collection  reproduced  in  the  catalogue  by  Migeon, 
p.  *26,  shores  a similar  decoration  and  execution. 


( Illustrated  in  Color) 


No.  114 — Reliquary  Chasse  in  Champleve  Enameled  Bronze. 
French:  Limoges.  Late  XIII  Century 


115 — Reliquary  Statuette  in  Cast  Bronze  and  Champleve 
Enamel:  Virgin  and  Child.  French:  Limoges.  Late 
XIII  Century 

The  Virgin  is  seated  on  an  elaborately  ornamented  throne.  She  wears 
a dress  in  the  fashion  of  the  time,  girdled  at  the  waist  with  passemen- 
terie; also  at  the  neck,  wrists  and  the  bottom  of  the  garment.  The 
same  elaborate  border  is  seen  on  her  mantle,  which  covers  her  head, 
shoulders  and  a part  of  her  dress.  On  her  head  is  a crown  with  an  in- 
cised pattern.  Seated  on  her  lap  is  the  Infant  in  a long  gown  falling 
down  in  harmonious  folds.  His  exquisite  little  head,  with  curly  hair,  is 
turned  toward  the  apple  which  His  Mother  holds,  and  which  He  is  taking 
with  His  right  hand,  while  in  His  left  He  is  holding  a closed  book.  The 
Virgin  looks  down  smiling.  Both  the  Mother  and  Child  are  very  slender 
and  modeled  in  such  harmony  as  could  only  be  found  in  the  sculptures 
of  the  Gothic  cathedrals  and  in  the  finest  ivories  of  the  time.  They  are 
in  cast  bronze  and  of  the  finest  quality. 

The  throne  on  which  the  Virgin  is  seated  also  belongs  to  the  best 
Limoges  productions  of  the  thirteenth  century.  It  has  a blue  enameled 
background  on  which  a conventionalized  pattern  of  leaves  and  flowers 
is  incised  and  enameled.  Under  trefoiled  Gothic  arches  are  standing 
figures  similarly  incised  on  the  enameled  background.  On  the  sides  are 
represented  the  Virgin  and  the  Angel  of  the  Annunciation;  on  the  back, 
the  figures  of  St.  Peter  and  St.  Paul.  The  nimbi  are  in  blue  enamel 
with  golden  circles.  The  front  of  the  seat  shows  the  same  incised  and 
enameled  foliage,  but  without  figures;  and  on  top  of  the  seat  on  the  sides 
and  in  back  is  a cresting  with  keyhole  pattern.  Underneath  in  the  center 
is  an  opening  for  the  relics. 

This  reliquary  was  found  in  a wall  of  a convent  in  Toulouse,  about  three  years 
ago,  where  it  was  probably  hidden  during  the  great  French  Revolution.  At  that 
time  every  object  of  art  in  copper  that  could  be  found  was  melted,  owing  to  the 
need  of  that  metal.  The  reliquary  is  in  perfect  condition  and  it  is  of  great  importance 
in  the  history  of  goldsmith  work  in  France. 

Height , lfil/o  inches;  width,  fif/i  inches. 

Published  in  the  “International  Studio ,”  June , 1918. 

There  are  great  analogies  with  several  reliquaries  of  the  same  hind , 
especially  with  one  coming  from  the  Seilliere  Collection  reproduced 
in  Giraud : “Les  Arts  du  metal  a Vex  position  de  V Union  cent  rale  des 
Beaux  Arts,"  1880,  pi.  VIII;  with  one  in  the  Albert  Oppcnheim 
Collection;  one  in  the  Clung  Museum , and  with  many  others  in 
different  cathedrals,  museums  and  private  collections. 


( Illustrated ) 


Throne  in  Champleve  Enameled  Bronze.  French:  Limoges.  Late  XIII  Century 


No.  115 — Reliquary  Statuette:  Virgin  and  Child 
French  : Limoges.  Late  XIII  Century 


116 — Side  of  a Reliquary  in  Champleve  Enameled  Bronze. 
French:  Limoges.  Late  XIII  Century 

Representing  the  Virgin  and  Child.  In  an  elongated  oval  of  turquoise 
enamel,  decorated  with  incised  and  enameled  foliage,  the  Virgin  is  stand- 
ing. She  wears  a loose  mantle,  with  a passementerie  border,  around  her 
shoulders,  and  beneath  are  seen  the  graceful  folds  of  a long  dress  deco- 
rated with  a wide  border.  On  her  left  arm  is  the  Infant  similarly  dressed, 
and  giving  the  benediction  with  His  right  hand.  The  heads  of  both  the 
Mother  and  Child  are  in  high  relief.  Around  the  oval  on  a dark  blue 
enameled  background  are  incised  and  enameled  leaf  patterns.  The  bor- 
der is  formed  of  gilded  quatrefoils  incised  on  blue  and  red  enamel. 

Height,  HfL  inches;  width,  31/*  inches. 

There  are  analogies  with  a plaque  in  the  Museum  of  Chartres  exhibited 
in  Paris  in  1900,  and  reproduced  in  the  official  catalogue,  page  84. 


117 — Episcopal  Cross  in  Champleve  Enameled  Bronze. 
French:  Limoges.  Early  XIV  Century 

The  scroll  decorated  with  a conventionalized  pattern  in  red  enamel  on 
a white  ground  is  made  up  of  a serpent  biting  the  tail  of  a lion,  in  bronze, 
which  occupies  its  center.  On  the  knot  in  red  enameled  circles,  bordered 
with  gold,  are  represented  busts  of  angels  in  blue  garments  with  gilded 
wings.  The  stem  below  shows  a decoration  of  foliage  in  blue  and  white 
enamel  on  a red  ground. 

Height,  9 (f  inches. 

From  the  Castellani  Collection,  Home. 

There  are  many  crosses  of  very  similar  workmanship,  one  of  which  is  in 
the  Soissons  Museum,  one  in  the  treasury  of  Treves,  one  in  the 
Louvre,  one  in  the  Cathedral  of  Maurs  ( Cantal ),  two  in  the 
Spitzer  Collection,  and  many  others.  They  are  reproduced  in 
Unpin:  “L'CEuvre  de  LimogesT  pp.  551-563,  and  in  the  catalogue 
of  the  Spitzer  Collection,  vol.  1,  Nos.  62  and  63. 


(Illustrated) 


117 


118 — Aiguillettes  in  Silver  and  Translucent  Enamel 
French.  XV  Century 

Two  female  figures  are  standing  under  trefoiled  arches.  They  wear 
green  garments,  closely  fitting  over-dresses  and  elaborate  hair  dresses. 
Above  in  rosettes  are  seen  gilded  stars  on  shields.  On  top  are  fleurs-de- 
lis  and  on  the  sides  gilded  foliage. 


At  this  time  aiguillettes  were  attached  to  long  cords  running  through  holes  in  the 
clothing  and  served  to  keep  the  garments  together  instead  of  buttons. 


( Illustrated) 


Length,  .'114  Inches. 


119 — Plaque  in  Translucent  Enamel  on  Copper.  Italian: 
Florentine.  XV  Century 

A lamb  with  a banner  is  represented  in  the  center  on  blue  enamel.  Above 
are  seen  fleurs-de-lis  in  squares. 

Height,  4^  inches. 

This  emblematic  plaque  is  said  to  have  been  given  to  the  delegates  of 
the  Wool  Weavers  fraternity.  The  only  other  specimen  is  found  in 
the  Carrand  Collection  in  the  Bargello,  Florence. 


SCULPTURE  IN  WOOD:  XIII,  XIV,  XV 
AND  XVI  CENTURIES 


120 — Statuette  ix  Poeychromed  Wood:  St.  Louis.  French. 
XI 11  Century 

He  is  standing  on  a low  wooden  base  in  a simple  gown,  painted  in  blue 
and  girdled  in  the  fashion  of  the  time.  A gilded  mantle  with  a white 
collar  is  fastened  on  the  side  near  the  right  shoulder.  In  the  King’s 
right  hand  must  have  been  a scepter,  now  destroyed.  On  his  left  arm, 
the  hand  of  which  is  missing,  is  draped  one  end  of  the  mantle.  His 
hair  is  wavy  and  cut  short  just  below  the  ears,  and  on  his  head  is  a 
jeweled  crown.  The  figure  of  the  King  is  of  beautiful  workmanship  and 
the  face  of  the  greatest  fineness. 

It  would  be  of  great  interest  to  know  in  just  which  part  of  France  this  master- 
piece was  produced,  and  if  we  try  to  determine  to  which  school  it  belongs,  many 
points  of  resemblance  can  be  found  in  comparing  it  with  some  of  the  angels  and 
other  statues  of  the  Cathedral  of  Rheims:  the  same  search  for  expression,  the  same 
smile  and  fineness  are  seen  in  them.  Though  small  in  proportions  this  figure,  in 
its  supreme  elegance,  is  of  a really  monumental  character.  In  minor  art  we  only 
occasionally  find  specimens  of  such  accomplishment.  There  is,  however,  very  similar 
to  it,  a small  figure  in  goldsmith’s  work,  called  the  “Roi  de  Bourges,”  which  was 
found  in  a house  in  Bourges  and  which  was  exhibited  in  Paris  in  190V.  It  shows 
the  same  exquisite  finish  and  the  same  monumental  qualities,  but  differs  somewhat 
in  the  expression.  It  is  nearer  the  character  of  the  sculpture  in  Chartres  and  Amiens, 
while  this  one  shows  the  characteristic  search  for  expression  of  the  angels  of  Rheims. 
It  is  interesting  also  to  compare  the  head  of  our  figure  with  the  bust  of  St.  Louis, 
after  the  reliquary  in  gold  of  the  Ste.  Chapelle  in  Paris,  destroyed  in  1793,  and  repro- 
duced in  Jaequemin:  “Iconographie  du  costume  civil  et  militaire  du  IV  an  XIX 
siecle,”  pi.  40. 


( Illustrated) 


Height , If)  inches. 


No.  120 — Statuette  in  Poi.vchromeu  Wood:  St.  Louis. 
French.  XIII  Century 


No. 


120 — Statuette  in 
French. 


Polychromed  Wood: 
XIII  C 'extury 


St. 


Louis. 


121 — Statuette  in  Wood:  Virgin  and  Child.  French.  XIV 
Century 

The  Virgin  is  standing  on  a low  octagonal  base,  her  body  slightly 
thrown  to  the  left.  On  her  closely  fitting  dress,  falling  down  in  loose 
folds,  is  draped  a full  mantle,  which  exposes  her  bodice,  and  which  is 
held  up  in  front  by  her  right  arm;  the  ends  of  her  shoes  show 
beneath  the  mantle.  The  Infant,  clothed  in  a long  loose  dress,  is 
seated  on  her  left  arm;  His  hair  is  curly  and  His  features  of  great 
fineness.  Smiling,  and  looking  up  at  His  Mother,  He  caresses  her  with 
His  right  hand,  while  holding  up  in  His  left  an  apple.  The  head  of  the 
Virgin  is  of  the  same  delicacy  and  elegance,  and  she  also  looks  down 
smiling  at  her  Child,  holding  up  to  Him  a pear  which  she  has  in  her  right 
hand.  Her  hair  which  falls  down  loose  on  her  back  in  curly  waves  is 
uncovered,  and  is  a sign  of  new  traditions  in  the  religious  representation, 
for  the  head  of  the  Virgin,  until  the  second  half  of  the  thirteenth  century, 
was  always  covered. 

Height , 20  inches. 

From  the  Molinier  Collection. 

The  Virgin  in  wood  in  the  Lou-v re , reproduced  in  “Les  Arts 1909, 
slimes  great  analog//  with  this  one  in  her  pose,  draperies,  and  in  the 
way  she  is  holding  the  Child.  There  are  also  analogies  with  the 
Virgin  and  Child  in  the  Metropolitan  Museum  of  Art,  coming  from 
the  Morgan  Collection,  and  with  a Female  Saint  in  the  Aynard  Col- 
lection, reproduced  in  the  Sale  Catalogue,  No.  237. 

( Illustrated ) 


No.  121 — S TATUETTE  IN  W ood:  Virgin  and  Child.  French.  XIV  Century 


122 — Statuette  in  Gilded  and  Painted  Wood:  Virgin  and  Child. 
French.  First  Hale  of  XIV  Century 

The  Virgin  wears  a closely  fitting  dress  buttoned  in  front  over  which 
is  thrown  a mantle  covering  her  back  and  shoulders  and  draped  on 
her  knees.  She  is  seated  on  a low  chair  showing  in  the  upper  part 
a frieze,  and  below  a tracery  of  Gothic  windows.  On  her  left  arm 
was  seated  the  Infant  Jesus,  now  almost  completely  destroyed.  Her 
curly  hair  is  parted  in  the  middle;  a veil  and  a crown  cover  her 
head;  the  bottom  of  her  dress  leaves  uncovered  the  pointed  ends  of  her 
shoes.  The  head  of  the  Virgin  is  charming,  and  the  expression  is  that 
of  innocence,  youth  and  timidity.  The  pose  of  her  body  thrown  to  the 
left  shows  the  characteristic  method  of  the  French  sculptors  who  em- 
ployed if  in  the  representation  of  the  Virgin  holding  the  Child,  of  which 
the  oldest  example  seems  to  be  the  famous  Virgin  of  the  Cathedral  of 
Amiens,  called  the  “Golden  Virgin.”  The  Virgin  here  reproduced  is  a 
charming  type  of  the  fourteenth  century  French  workmanship  with  all 
its  fineness  and  frankness. 


Height , 21  inches. 


1*23 — Statue  in  Wood:  St.  Martin  (?).  Franco-Flemish.  Sec- 
ond Half  of  the  XV  Century 

The  Saint,  stands  on  an  hexagonal  base.  He  is  wearing  a short  pleated 
gown  with  wide  sleeves,  and  girdled  at  the  waist.  Over  it  is  a full  mantle 
with  a broad  collar.  It  is  fastened  on  the  right  shoulder  and  one  side 
is  thrown  back  and  draped  over  his  left  arm.  On  his  curly  hair,  cut 
just  below  the  ears,  rests  a high  hat  with  the  rim  turned  up.  He  is 
holding  in  his  right  hand  a sword  and  in  his  left  is  a closed  book  m a 
cover,  the  end  of  which  is  in  the  form  of  a sack. 

Book  covers  like  this  were  in  great  use  in  the  fifteenth  century.  Cahier,  in  his 
book,  “Caraeteristique  des  Saints,”  p.  498,  reproduces  St.  Lambert,  the  Bishop  of 
Liege,  with  just  the  same  kind  of  book,  and  gives  the  information  concerning  it. 
There  is  also  in  the  Amsterdam  Museum  a female  saint  in  wood,  holding  a book 
with  a similar  cover,  and  reproduced  in  Vogelsang:  “Holzskulpturen  in  den  Nieder- 
landen,”  11,  pi.  29,  No.  17. 

Height , 43  inches. 

The  costume , as  well  as  the  shoes  and  the  hat , shows  striking  similarity 
with  the  figure  of  Philippe  le  Bon  (?),  Duke  of  Burgundy,  in  the 
Amsterdam  Museum,  made  in  bronze  by  Jacques  de  Gerines  which 
Humbert  in  “ La  Sculpture  sous  les  dues  de  Bourgogne p.  139, 
thinks  to  reproduce  a composition  of  some  sculptor  of  Antwerp. 


124 — Bust  ot  a Young  Lady.  Painted  Wood.  Italian:  Perugia. 
XV  Century 

The  lady  is  represented  full  face.  Her  features,  painted  in  natural 
colors,  are  of  unusual  beauty  and  delicacy.  Her  hair  is  gilded  and 
arranged  in  ringlets  around  her  head  and  on  either  side  of  her  forehead. 
Her  finely  shaped  ears  show  through.  The  bust  is  in  an  exceptionally 
fine  state  of  preservation  and  of  the  greatest  rarity.  The  beautiful 
workmanship  and  the  most  carefully  executed  details  would  point  to  a 
very  skilful  goldsmith-sculptor  as  author.  On  a gilded  base. 

Height,  11  inches. 


( Illustrated ) 


No.  124  B rsi  of  a Young  Lady. 

Painted  Wood.  Italian:  Perugia.  X Y Century 


125 — Group  in  Painted  Wood:  Virgin  and  Child.  Andrea  del 
Verrocchio  (Follower  of).  Italian.  Second  Half 
XV  Century 

The  Virgin  is  seated  facing  to  the  front.  She  wears  a gilded  brocaded 
gown  girdled  at  the  waist.  Her  curly  hair,  parted  in  the  middle,  frames 
her  beautiful  girlish  face.  She  is  supporting  with  both  hands  the  Infant 
Jesus,  who  sits  erect  on  her  knees  in  front  of  her.  He  is  wearing  the 
same  kind  of  gown  as  His  Mother  and  He  looks  smilingly  before  Him. 
H is  right  arm  and  left  hand  are  missing. 

This  group,  of  exquisite  beauty,  seems  to  have  been  made  by  a North  Italian 
imitator  both  of  Verrocchio  and  Leonardo  da  Vinci.  It  stands  in  close  relationship 
to  Verrocchio’s  productions  and  also  to  those  of  his  pupil  Leonardo.  Several  portrait 
busts  in  marble  by  Verrocchio  bear  evidence  of  this  relationship.  One  of  them  is 
the  bust  of  a Lady  in  the  Bargello,  Florence;  another  is  in  the  Edmond  Foulc  Col- 
lection; another,  supposed  to  represent  Medea  Colleoni,  is  in  the  Gustave  Dreyfus 
Collection  in  Paris  (see  Maud  Cruttwell:  “Verrocchio,”  pi.  23,  25).  It  is  also  inter- 
esting to  compare  it  with  a silver  point  drawing  by  Verrocchio  in  Dresden  represent- 
ing “A  Study  for  a Madonna”  and  with  Leonardo’s  design  of  a young  lady  in 
Windsor  (see  Jens  Thiis:  “Leonardo  da  Vinci — The  Florentine  Years  of  Leonardo 
and  Verrocchio,”  p.  117;  p.  59). 


( Illustrated ) 


Height , 28  inches. 


No.  125 — Group  in  Painted  Wood:  Virgin  and  Child. 
Italian.  Second  Half  XV  Century. 

By  a Follower  of  Andrea  del  Verrocchio 


126 — Statuette  in  Wood:  A Monk  Reading.  Rhenish.  Late 
XV  Century 

The  monk  is  standing  on  a square  base  of  gilded  wood,  decorated  with  a 
flowered  pattern.  He  wears  a long  loose  gown  showing  shoes  with  broad 
tops.  Over  Ins  gown  is  a monk’s  habit  with  a hood.  His  hair  is  thick 
and  curly  and  tonsured  on  top.  His  head,  thrown  back,  shows  a round, 
expressive  face  of  a middle-aged  man.  He  is  reading  from  an  open  book 
which  he  holds  in  his  left  hand  while  his  right  is  raised. 

Height,  26  inches. 

'/'here  are  some  analogies  with  a figure  of  St.  Stephen  from  the  Fig  dor 
Collection,  and  with  the  fgure  of  St.  Leonard  in  the  Wilczek  Col- 
lection, both  reproduced  in  Leisching : Figurale  Holzplastik  I,  pi. 
50  and  pi.  51,  So.  108.  There  are  also  some  analogies  with  a figure 
of  a monk  (?)  in  the  Benoit  0 ppenheim  Collection , reproduced  in 
Catalogue,  pi.  21,  No.  65,  and  given  as  South  German  about  1500. 


f 


127 — Bust  of  the  Yukon.  Painted  Wood.  Flemish.  Early 
XVI  Century 

The  \ irgin  is  facing  to  the  front.  Her  blue  dress  with  a red  guiinpe 
is  partly  visible.  On  her  shoulders  is  a gilded  mantle  attached  in  front; 
and  in  her  hair,  parted  in  the  middle  and  elaborately  arranged  over  her 
ears,  is  a gilded  crown.  On  a painted  base.  Face  and  flesh  painted  in 
natural  colors. 

Height,  17  inches. 


A bust  showing  many  analogies  was  formerly  in  the  Spitzer  Collection. 
(See  Sale  Catalogue,  No.  77-t.) 


128 — Statue  in  Wood:  St.  Barbara.  Alsatian.  Second  Hale 
of  XV  Century 

The  Saint  is  standing  on  a low  base,  wearing  a long  dress  over  which 
is  an  over-dress  fastened  in  front  and  forming  a mantle.  Her  loose  hair 
falls  to  her  shoulders.  She  is  holding  in  her  left  hand  an  open  book 
from  which  she  is  reading;  while  in  her  right  hand  is  a palm.  To  the 
right  is  seen  a Gothic  sanctuary  surmounted  by  a high  tower. 

Height,  36^4  inches. 

There  are  similarities  in  drapery  and  pose  with  the  figure  of  St.  Catherine 
in  the  Utrecht  Museum,  reproduced  in  Vogelsang : “ Holzskulpturen 
in  den  Niederlan-den, ” Vol.  I,  pi.  VII,  No.  26,  which  is,  however, 
given  as  Lower  Blienish,  fifteenth  century. 


129 — Statue  in  Wood.  Flemish.  XV  Century 

Representing  an  archbishop  in  his  robe  and  mitre,  holding  in  his  left 
hand  a crosier;  at  his  feet  to  the  right,  two  books. 

Height,  4 feet. 


130 — Statuette  in  Wood,  Polychromed.  Italian.  XVI  Cen- 
tury 

Rep  resenting  St.  John  the  Baptist,  in  the  act  of  baptizing. 

II eigh  t,  1 9 14  inch  es . 


SCULPTURE  IN  MARBLE  AND  STONE: 
XIV,  XV  AND  XVI  CENTURIES 


SCHOOL  OF  GIOVANNI  PISANO,  PROBABLY  BY  TINO  DI  CAMAINO 

131 — Group  ix  Marble:  Madonna  and  Child.  Italian.  About 
1320 

The  Virgin  is  standing,  her  body  slightly  thrown  forward.  She  wears  a 
gown  girdled  at  the  waist  with  a jeweled  belt  fastened  in  front.  On  her 
shoulders  is  a mantle  trimmed  with  a border  and  fastened  in  front.  A 
veil  covers  her  head  and  on  it  is  a jeweled  crown.  Seated  on  her  right 
hand  is  the  Infant  Jesus  in  a long  gown  over  which  is  draped  a mantle. 
He  is  holding  a closed  book  in  His  left  hand,  while  with  His  right  He 
puts  the  crown  on  His  Mother’s  head. 

Height , 20  inches. 

The  composition  is  imitated  from  the  group  by  Giovanni  Pisano  in  the 
Cathedral  of  Prato  which  shows,  however,  more  slender  proportions 
and  which  is  of  finer  quality.  Many  analogies  can  be  found  in  com- 
paring it  with  the  Virgin  and  Child  in  the  Berlin  Museum  attributed 
by  Bode  and  Justi  to  Giovanni  Pisano  ( Jalirbuch  der  Kgl.  Prcuss. 
Kunst.  1885,  p.  211,  and  1903,  p.  252)  but  given  by  Venturi  to 
Tino  da  C amain o.  See  also  figures  from  tomb  in  Composanto,  Pisa, 
attributed  to  Tino.  ( Venturi  : Storia  dell'  Arte  Italiana  IV,  pp.  259 
and  256.) 


( Illustra  ted ) 


No.  1 31 — Group  ix  Marble:  Madonna  and  Child 
Italian.  About  1320 


132 — Door  Arch  in  Marble.  Italian.  XIV  Century 

Door  arch  in  carved  marble;  in  the  center  in  high  relief  the  head  of 
Frederick  II  as  it  is  seen  on  his  gold  coins  minted  in  Sicily.  The  rest  of 
the  ornamentaton  represents  large  sword  hilts,  garlands,  and  two  dogs 
rampant,  forming  the  details  of  the  royal  coat-of-arms.  This  door 
arch  comes  from  a government  building  of  the  reign  of  Frederick  II  in 
Sicily. 

Out  side  measurements:  Height,  9 feet  8l/o  inches;  •width,  5 feet 
2i/2  inches. 

Note:  Door  arches  of  this  type  were  sometimes  built  in  honor  of  the  memory  of  a 
notable  personage  or  an  historical  event. 


( Illustrated ) 


No.  132 — Door  Arch  in  Marble. 
Italian.  XIV  Century 


133— Relief  in  Marble:  Tiie  Virgin  and  the  Apostles. 
French  (?).  About  1400 

Modeled  in  a depression  forming  a frame  is  seen,  to  the  left,  the  Virgin 
wearing  a closely  fitting  dress  over  which  is  draped  a mantle  covering 
her  head,  shoulders  and  the  lower  part  of  her  dress.  Both  of  her  hands 
are  held  up  in  a gesture  of  astonishment.  Next  to  her,  St.  Peter  is 
standing.  He  has  short  curly  hair  and  a round  beard,  and  wears  over 

his  gown  a mantle  draped  in  the  Roman  fashion  and  he  holds  a key 

in  his  right  hand,  while  in  his  left  is  a closed  book.  To  the  right  is  St. 
Paul,  dressed  similarly  and  holding  in  both  hands  a closed  book.  His 
hair  is  cut  short  and  liis  beard  is  long.  Behind  are  seen  the  heads  of 
three  other  personages  whose  bare  feet  also  show  behind  those  of  the 

Apostles,  which  are  also  bare,  while  the  Virgin’s  are  shod.  On  the  top 

is  a frieze,  showing  in  the  center  a cross  on  a shield,  and  at  the  right  the 
letters  S.  M.  The  letters  at  the  left  are  missing. 

There  is  in  the  Martin  le  Roy  Collection,  reproduced  in  catalogue  I.,  pi.  27,  an 
applied  relief  in  gilded  copper  of  the  thirteenth  century,  Limoges  workmanship,  of 
which  the  representation  is  identical  with  this  hut  without  frame.  It  is  possible  that 
it  served  as  model  for  it;  it  is  also  possible  that  both  reproduce  an  unknown  minia- 
ture or  book-cover.  Though  this  relief  is  identical  to  the  Martin  Le  Roy  group, 
which  is  of  the  thirteenth  century,  it  is  not  possible  to  assign  it  to  the  same  period 
owing  to  the  inscription  on  it,  which  is  of  the  late  fourteenth  or  the  beginning  of 
the  fifteenth  century. 

Height,  19]/o  inches;  width,  121/4  inches. 

( Illustrated) 


No.  133— Relief  in  Marble:  The  Virgin  and  the  Apostles. 
French  (?).  About  1400 


134 — Medallion  in  Marble.,  in  Enameled  Terra-cotta  Frame. 
Italian.  Pietro  Lombardi  (1440-1.512) 

It  represents  the  profile  portrait,  head  and  shoulders,  of  a noble  Vene- 
tian lady.  This  model  is  always  compared  with  the  works  of  Carpaccio. 
Frame  in  enameled  terra-cotta  with  decoration  of  leaves  and  fruit,  from 
the  factory  of  Della  Robbia. 

Medallion-.  Diameter , 7 Vo  inches. 
Frame:  Diameter , 15  inches. 

From  the  M olinier  Collection. 


135 — Bas-relief  in  Marble.  Venetian.  XV  Century 

Representing-  the  portrait  of  a man  seen  in  profile;  frame  of  gilded  wood. 

Marble : 15 V.  inches  high;  9 inches  wide. 
Frame : 25 V>  inches  high;  1 5 '/j:  inches  wide. 


136 — Small  Bust  in  Marble.  Donato  d’Angelo — called  Bra- 
MANTE  (1444-1514) 

Small  marble  bust  of  a man  in  bis  prime,  crowned  with  laurel.  The 
attributing  of  this  to  Bramante,  in  the  absence  of  any  other  sculptural 
work  of  the  great  and  much  gifted  artist  of  Urbino,  is  rendered  plausible 
by  the  points  of  comparison  that  may  be  made  between  this  bust  and 
those  that  Bramante  loved  to  depict  in  the  decoration  of  the  first 
architectural  works  done  by  him  in  Lombardy  (for  instance  the  Pani- 
garola  House  in  Milan).  In  consonance  with  Bramante’s  style,  also,  is 
the  markedly  classic  type  of  the  small  bust,  the  inspiration  for  which 
was  derived  probably  from  some  antique  coin.  On  marble  base. 

Height , without  base,  8^4  inches. 


137 — Statuette  in  Limestone:  A Mourner.  French.  School 
of  Burgundy.  XV  Century 

Standing  on  an  octagonal  base  and  facing  to  the  front  is  the  mourner. 
His  head  with  hair  cut  short  is  bent  forward.  He  wears  a large  full 
mantle  with  a hood,  and  with  a flap  of  this  garment,  which  covers  his 
right  hand,  he  is  drying  his  tears.  His  left  hand  is  missing. 

This  figure,  so  full  of  character  and  of  interest,  comes  probably  from  one  of 
the  tombs  of  the  dukes  of  Burgundy,  of  which  so  many  are  now  in  museums  and 
private  collections.  Comparing  it  to  the  ones  in  existence,  we  find  it  almost  iden- 
tical with  one  of  the  mourners  from  the  tomb  of  Philippe  le  Hardi,  Duke  of  Bur- 
gundy, who  died  in  JtOt,  now  in  the  Museum  of  Dijon,  and  to  another  mourner 
in  the  Cluny  Museum  in  Paris,  both  reproduced  in  Vitry:  “Documents  de  sculpture 
francaise  au  moven  age,”  pi.  109,  Nos.  1 and  9.  There  are  also  many  similarities 
to  a mourner  from  the  tomb  of  Jean  sans  Peur  who  succeeded  his  father,  Philippe 
le  Hardi,  and  who  died  in  1419,  reproduced  in  Humbert:  “La  sculpture  sous  les  dues 
de  Bourgogne,”  pi.  28. 


Height , 17^4  inches. 


BENEDETTO  DI  ARDIZOLO  BRIOSCO  or  DEI  BRIOSCHI 


Active  about  1483-1506.  Worked  in  Milan,  Pavia,  Cre- 
mona. Influenced  by  Amadeo  and  Cristoforo  Romano. 

Lombard  School. 

138 — Four  Marble  Busts  in  Profile 

The  first  of  the  busts  seems  to  represent  Gian  Galeazzo  Sforza,  nephew 
of  Ludovico  il  Moro  and  son  of  Galeazzo  Maria  Sforza  who  was  killed 
in  14T6.  Two  reliefs  of  Gian  Galeazzo,  one  of  which  is  in  the  Gustave 
Dreyfus  Collection,  Paris,  and  the  other  in  the  Archaeological  Museum 
in  Milan,  seem  to  confirm  this  attribution.  (See  F.  Malaguzzi-Yalen  : 
La  Corte  di  Ludovico  il  Moro,  pp.  36  and  404.) 

The  second  bust  is  probably  that  of  his  wife,  Isabella  of  Aragon, 
daughter  of  the  King  of  Naples,  Alfonso  of  Aragon.  She  married  Gian 
Galeazzo  at  the  age  of  seventeen,  when  he  himself  was  only  twenty  years 
old.  It  is  interesting  to  compare  it  with  a youthful  design  of  her  in 
tlie  Cffizi  and  with  her  portrait  in  a medallion  in  the  Sforza  Palace,  at- 
tributed to  Luini  (F.  Malaguzzi-Valeri : La  Corte  di  Ludovico  il  Moro, 
pp.  38,  39). 

The  third  relief  possibly  represents  Catherine  Sforza,  Countess  of 
Imola  and  of  Forli,  daughter  of  Galeazzo  Maria,  and  sister  of  Gian  Gale- 
azzo. She  married  first  Girolamo  Riaro  in  1477  and  when  he  was  killed  in 
1488  she  married  Giacomo  Feo  di  Savona  in  1490.  He  in  his  turn  having 
been  killed  in  1495,  Catherine  married  Giovanni  dei  Medici.  It  is  inter- 
esting to  compare  the  bust  with  her  portrait  by  Marco  Palmezzano  in 
the  Forli  Pinacotek  and  with  one  in  the  Cffizi,  Florence.  ( La  Corte  di 
Ludovico  il  Moro,  pp.  522,  523.) 

The  fourth  and  last  bust  shows  great  resemblance  to  medals  repre- 
senting Alfonso  of  Aragon,  tbe  King  of  Naples.  It  may  also  possibly 
portray  Galeazzo  Maria  Sforza,  the  one  mentioned  above,  who  was  killed 
in  1476.  (See  F.  Malaguzzi-Valeri : La  Corte  di  Ludovico  il  Moro,  p. 
16  and  p.  40.)  All  these  personages  belonged  to  the  court  of  Milan  and 
were  closely  associated  with  Ludovico  il  M oro  himself.  We  know  through 
accounts  of  the  time  that  Briosco  worked  at  the  Dome  of  Milan  between 
1482-1492.  It  is  probably  about  that  time  that  he  executed  the  reliefs. 
Later,  when  he  went  to  work  at  the  Certosa  of  Pavia,  he  executed  for 
the  “Porta  della  Sagrestia  vecchia”  and  for  the  “Porta  della  Stanza 
del  Lavabo”  the  same  kind  of  portrait-busts,  representing  Dukes  and 
Duchesses  of  Milan.  (See  Alfred  Gotthold  Meyer:  “Oberitalienische 
Fruhrenaissance,”  pp.  160-161,  and  F.  Malaguzzi-Valeri : “G.  A.  Ama- 
deo,” pp.  92-93.) 

Average  height . 18  inches. 

( Illustrated) 


No.  1 98 — Marble  Profile  Bust  of  Gian  Galeazzo  Sforza. 
Italian.  XV  Century.  By  B.  A.  Briosco 


No.  138 — M arble  Profile  Bust  of  Isabella  of  Aragon. 
Italian.  XV  Century.  By  B.  A.  Bkiosco 


No.  igg — Marble  Profile  Bust  of  Catherine  Sforza. 
Italian.  XV  Century.  By  B.  A.  Briosco 


No.  138 — Marble  Profile  Bust  of  Alfonso  of  Aragon  ( ?) 
Italian.  XV  Century.  By  B.  A.  Briosco  ' 


139 — Bas-relief  in  Marble.  Italian.  Andrea  Sansovino  (1460- 
1529) 

It  represents  the  Virgin ; half  the  figure  is  shown  and  she  holds  the 
Infant  Jesus,  who  is  playing  with  the  little  St.  John.  This  charming 
composition  shows  the  influence  of  Raphael  even  though  the  artist  has 
found  a new  way  of  treating  the  difficulty  of  depicting  the  two  children 
together — the  problem  which  cost  the  painter  of  Urbino  so  much  weary- 
ing thought.  The  subject  is  represented  in  a simply  decorated  frame 
and  appears  as  if  in  a window. 

Height,  141/2  inches;  width,  1 1 14  inches. 
( Illustrated) 


140 — Bas-relief  in  Marble.  Italian.  Late  XV  Century 

Representing  an  Italian  Princess  under  the  features  of  Diana.  A well- 
known  plaquette,  probably  a reduced  copy  of  this  marble,  may  be  seen  in 
Molinier’s  “Plaquettes,”  No.  44,  p.  23.  In  a wooden  frame. 

Height,  13^4  inches. 

From  the  Borghcse  Collection. 


No.  139-  Bas-relief  in  Marble.  Italian.  XA^  Century 
By  Andrea  Sansovino 


GIOVANNI  ANTONIO  DE  AMADEI— called  AMADEO  ok  AMODEO 


Born  in  Pavia  in  1147,  died  in  Milan  in  1522.  Influenced 
first  by  Michelozzo  and  later  by  Mantegazza. 

141 — Statuette  in  Marble:  The  Virgin  of  the  Annuncia- 
tion (?)  Italian 

The  figure  is  standing  on  a low  base,  her  right  knee  slightly  bent  forward. 
She  wears  a gown  girdled  at  the  waist  with  sleeves  slashed  at  the  sides. 
A mantle,  the  ends  of  which  she  is  holding  in  her  left  hand,  covers  her 
back  and  left  shoulder  and  is  draped  in  front.  Her  hair  falls  loose  on 
her  back  in  long  curly  waves.  On  her  nude  feet  are  sandals. 

The  statue  seems  to  have  been  made  about  147.5  at  about  the  same  time  that 
Amadeo  worked  at  the  Colleoni  Chapel  in  Bergamo.  It  belongs  to  his  first  manner 
when  influenced  by  Michelozzo  and  some  of  the  productions  of  the  Milan  Cathedral. 
The  Colleoni  Chapel,  which  so  clearly  brings  out  the  characteristics  of  his  first  manner, 
shows  two  figures  standing  on  pedestals  of  the  same  style  and  workmanship  as  this 
statue.  (See  F.  Malaguzzi- Valeri:  “G.  A.  Amadeo,”  pp.  44,  45.) 

Height , 37  inches. 


( Illustrated ) 


No.  141 — Statuette  ix  Marble:  The  Viugix 
of  tete  Annunciation  (?)  Italian.  XV  Century. 
By  Giovanni  Antonio  de  Amadei 


“MASTER  OF  THE  MARBLE  MADONNAS” 

Active  in  Florence  and  in  Urbino ; influenced  by  Antonio 
Rossellino  and  Mino  da  Fie, sole.  Second  half  of  Fifteenth 
Century 

142 — Bas-relief  in  Marble:  Virgin,  Child  and  Angels.  Floren- 
tine 

The  Virgin,  facing  to  the  front,  is  seen  in  half  figure.  She  wears  a gown 
girdled  at  the  waist,  with  a passementerie  border  around  her  neck  and 
wrists.  A mantle  covers  her  shoulders  and  is  draped  in  front  serving 
as  a support  to  the  Infant  Jesus,  who  is  lying  naked,  holding  a bird  in 
His  right  hand.  The  Virgin,  with  hands  crossed  on  her  breast,  adores 
Him,  while  two  winged  angels  with  floating  draperies  around  their  bodies 
are  putting  a jeweled  crown  on  her  head.  Modern  frame. 

The  relief  shows  all  the  characteristics  of  a large  number  of  works  which  have 
been  grouped  under  the  name  of  the  “Master  of  the  Marble  Madonnas.”  The  bodies  of 
the  babies  are  plump,  the  eyes  are  almond-shaped,  showing  circles  underneath,  with 
eyelids  somewhat  swollen.  The  thin-lipped  mouths  are  smiling.  The  expression  of 
the  faces  as  a whole,  so  typically  in  the  manner  of  the  unidentified  Master,  is  derived 
from  the  art  of  Antonio  Rossellino,  while  the  treatment  of  draperies  and  hair  shows 
clearly  Mino  da  Fiesole's  influence.  His  reliefs  in  Bargello  and  St.  Stefano  in 
Florence,  in  Urbino,  in  Berlin,  etc.,  clearly  show  the  same  characteristics. 

For  comparison,  see  Virgin  and  Child  in  the  Church  of  Del  Sacro  Eremo  in 
Camaldoli,  another  in  the  Gainbier  Parry  Collection  and  several  in  Berlin  (reproduced 
in  Bode:  “Denkmaler,”  pi.  423  and  424,  and  in  Frida  Schottmiiller : “Die  italienischen 
und  spanisehen  Bildwerke  der  Renaissance,”  Nos.  156-159).  All  these  works  show  the 
same  characteristic  shape  of  the  eyes,  mouth  and  hands,  and  garments  similarly  draped 
and  the  same  particular  way  of  modeling  the  wings  of  the  angels. 

Height , 18  inches;  width,  15  inches. 

( Illustrated ) 


No.  142 — Bas-relief  in  Marble:  Virgin,  Child  and  Angels. 
Florentine.  XV  Century.  By  the  “Master  of  the  Marble  Madonnas” 


GIAN  CRISTOFORO  ROMANO 


About  1465-1512.  Pupil  of  his  father  Isaia  and  of  An- 
drea Bregno.  W orked  in  Rome,  Pavia,  Ferrara  and 
Mantua.  Official  sculptor  at  the  Courts  of  Ferrara  and 
Mantua. 


43 — Small  Bust  in  Marble.  North  Italian  School 

Rust  of  Francesco  Gonzaga  (?).  The  bust  represents  a young  man. 
He  wears  a tunic  buttoned  in  front.  A cross,  probably  the  Cross  of 
the  Malta  order,  is  suspended  on  a double  chain.  Plis  long  hair  is 
parted  in  the  middle,  falling  down  on  his  neck  and  covering  his  ears.  On 
a wooden  base. 

The  workmanship  of  the  bust  shows  the  same  qualities  and  characteristics  as 
the  host  of  Beatrice  d'Este  now  in  the  Louvre,  and  made  by  Cristoforo  Romano 
about  1490.  It  closely  resembles  medals  of  the  youthful  Gian  Francesco  Gonzaga, 
who  later  became  Duke  of  Mantua  under  the  name  of  Gian  Francesco  II  Gonzaga, 
and  who  married  in  1490  the  elder  sister  of  Beatrice  d'Este,  the  famous  Isabella. 
It  also  resembles  his  portrait  in  the  fresco  in  the  “Sala  degli  Sposi”  by  Mantegna, 
where  Ludovico  Gonzaga  is  represented  with  his  sons  and  two  grandsons,  one  of 
whom  is  Francesco. 

Cristoforo  Romano  did  not  arrive  in  Mantua  before  1498  to  be  officially  attached 
to  the  court  of  Gian  Francesco  II  Gonzaga,  and  as  at  that  time  the  Duke  was  over 
thirty  years  of  age,  this  bust  probably  was  made  from  the  painting  of  Mantegna 
or  from  a youthful  medal  of  Gian  Francesco  II  Gonzaga. 

Height,  without  base,  1 2 1/5  inches. 

From  the  Eduard  Aynard  Collection,  in  which  catalogue  it  is  repro- 
duced, p.  182,  No.  '277. 


( Illustrated ) 


No.  1 13 — Small  Bust  in  Marble. 

North  Italian  School.  XV  Century.  By  Gian  Cristoforo  Romano 


144 — Statuette  in  Painted  Stone:  Virgin  and  Child.  French. 
End  OF  XV  or  Beginning  of  XVI  Century 

The  Virgin  is  standing,  in  a closely  fitted  and  gilded  dress,  over  which 
is  thrown  a full  mantle  of  the  same  color,  lined  with  blue.  Her  hair  is 
parted  in  the  middle  and  arranged  over  her  ears.  On  her  head  is  a 
crown.  On  her  left  arm,  covered  by  the  folds  of  her  mantle,  is  seated 
the  Infant,  His  naked  body  covered  only  with  a drapery.  His  left  arm 
is  missing  and  with  His  right  He  is  holding  the  Virgin’s  dress.  His 
hair  is  curly  and  His  expression  is  smiling.  The  Virgin  holds  in  her 
right  hand  a branch  and  on  it  is  a bird  with  head  missing. 

Height,  20  inches. 

There  are  some  similarities  with  the  Virgin  of  St.  Giraud  de  Vatu r in 
Bourbonnais,  reproduced  in  Vitry:  “ Michel  Colombe  et  la  Sculpture 
fran^aise  de  son  temps,”  p.  309. 


( Illustrated) 


No.  144 — Statuette  in  Painted  Stone:  Virgin  and  Child. 
French.  XY-XVI  C 'enter  y 


ATTRIBUTED  TO  TIBERIO  CALCAGNI 

1532—1565 

(Pupil  of  Michelangelo) 

145 — Bust  in  Marble:  The  Virgin  of  Sorrow.  Italian 

She  is  represented  facing  the  front  with  closed  eyes  and  the  head  slightly 
inclined  toward  the  right.  A veil  covers  her  head  and  shoulders.  Small 
marble  base. 

The  I mst  strongly  resembles  in  type  the  Michelangelo  Virgin  from  the  Pieta 
in  St.  Peter's  Cathedral,  Rome;  and  another  Virgin  by  him  in  Brussels  (see  Franz 
Knap]):  “Miehaelangelo,”  pp.  8,  17).  Its  attribution  to  Tiberio  Calcagni  seems  very 
plausible.  The  bust  is  strongly  influenced  by  Michelangelo’s  productions  mentioned 
above.  Calcagni,  according  to  Vasari  and  other  contemporary  writers,  worked  with 
Michelangelo  and  even  completed  two  of  his  works  left  unfinished.  One  of  them 
is  the  “Entombment”  (?)  in  the  Dome  of  Florence,  which  Michelangelo  intended  for 
his  own  tomb,  and  in  which  the  figure  of  Joseph  of  Arimathea  portrays  himself;  the 
other  is  the  bust  of  Brutus  in  the  National  Museum  in  Florence.  (See  Vasari,  Edition 
Mihtnesi,  Vol.  VII,  pp.  243-24-4,  and  Fritz  Knapp:  “Miehaelangelo,  pp.  125,  141.) 

Height , 1 4 inches 

From  the  Colonna  fa  milt). 


( Illustrated ) 


No.  145 — Bust  in  Marble:  The  Virgin  of  Sorrow. 
Italian.  XVI  Century.  Attributed  to  Tiberio  Calcagni 


ALESSANDRO  VITTORIA 
1525 — 1608 

146 — Large  Bust  in  Marble.  Italian 

Bust  of  Vincenzo  Alessandri,  Venetian  patrician,  and  Secretary  of  the 
Republic,  as  is  clearly  indicated  in  the  following  inscription,  which  ap- 
pears on  the  plinth  : 

VINC- 

ALEXANDRAS 

s 

A SECR • SER- 

JE  TJE 

REIP  V- 

All  the  plastic  power,  the  acute,  psychological  penetration,  the  breadth 
in  decoration,  the  life-like  characteristics  that  have  made  Alessandro 
Vittoria’s  work  the  choicest  in  all  the  museums  of  the  world  are  found 
in  this  bust,  which  may  be  compared  advantageously  with  the  most  noted 
and  most  happily  conceived  of  the  works  of  the  celebrated  Venetian 
portrait  sculptor  and  above  all  with  the  bust  of  Grimani,  in  the  Berlin 
M useum. 

Height,  2 feet  7 V7  inches. 

( Illustrated) 


No.  14(5 — Large  Bust  in  Marble.  Italian. 
XVI  C 'entuiiy.  By  Alessandro  Vittoria 


GIAN  LORENZO  BERNINI 
1598—1680 

147 — Large  Bust  in  Marble.  Italian 

Portrait  of  the  Cardinal  Gian  Carlo  dei  Medici.  The  personage  rep- 
resented was  the  son  of  Cosimo  II,  Grand  Duke  of  Tuscany,  and  his 
portrait  formed  part  of  a collection  of  busts  of  the  house  of  Medici.  Of 
th  ese,  two  at  present  are  in  the  Berlin  Museum;  another,  that  of  the 
Cardinal  Leopoldo,  perfect  companion  copy  of  the  bust  in  this  collection, 
is  in  the  Louvre  Museum,  Paris.  All  these  portraits  are  from  the  col- 
lection of  Signor  Bardini,  who  acquired  them  from  the  family  of  the 
Marchese  Covoni,  Florence,  living  in  the  palace  on  via  Cavour  that 
belonged  formerly  to  the  Capponi  family.  The  magnificent  head,  with 
its  long  and  sharply-pointed  mustache,  is  entirely  worthy  of  the  chisel 
of  Gian  Lorenzo  Bernini,  an  artist  whose  best  works  show  a union  of 
acute  psychological  penetration  and  a genial  broadness  in  the  decorative 
art. 


( Illustrated) 


Height , 3 feet  4 inches. 


No.  147 — Large  Bust  in  Marble.  Italian. 
XVII  Century.  By  Gian  Lorenzo  Be  RNINI 


1598 — 1680 


1-18 — Large  Medallion  in  Marble.  Italian 

Portrait  of  Doria  Colonna.  She  is  represented  in  a profile  half-bust, 
which  conveys  the  effect  of  her  being  richly  attired ; on  her  head  is  a 
draped  veil  of  generous  size,  which  falls  over  the  shoulders.  On  the 
breast  is  seen  a papal  decoration  (she  was  the  only  woman  decorated  by 
the  Pope).  What  is  extraordinary  about  this  medallion  is  the  skill 
with  which  the  difference  in  the  weaves  of  the  stuff’s  used  in  the  costume 
is  represented.  Doria  Colonna  was  the  patroness  of  Bernini. 

Height,  .‘3  feet;  width,  2 feet  .*3  inches. 


From  the  Villa  Colonna  at  Capodimonte  (Naples). 


GIAN  LORENZO  BERNINI 


149 — Statuette  in  Marble.  Italian.  X VI  Century 

Representing  St.  Peter  standing  in  the  costume  of  a monk  holding  keys 
in  his  left  hand.  Very  unusual  costume. 

Height , 20  inches. 


150 — Tabernacle  in  Carrara  Marble.  Italian.  X Y Century 

In  the  middle  opens  a small  door  with  frontispiece,  flanked  by  two  small 
pilasters  surmounted  by  capitals.  In  one  medallion  is  the  characteristic 
monogram  of  Christ:  IHS.  Below  is  seen  the  coat-of-arms  of  the  donor 
and  the  inscription  which  preserves  his  memory  reads:  PETR  VS  BATA 
DE  EENIS. 

Height , .‘14  inches ; width,  201/k  inches. 


ANTONELLO  GAGINI 
1478 — 1536 

151 — Bas-relief  in  Marble.  Italian 

Marble  bas-relief  of  two  angels  holding  in  their  hands  a medallion 
set  within  a laurel  crown.  This  represents  the  Pasch  of  the  Hebrews.  In 
the  center,  below,  a cherub’s  head. 

Length,  27  inches;  height,  1 6 bo  inches. 


152 — Vase  in  Alabaster.  Florentine.  X V I Century 

Beautiful  quality  of  alabaster  with  two  carved  masks,  one  on  either 
side ; bowl  part  in  the  form  of  fluted  shell,  molded  base.  There  is 
a similar  one  in  the  Pitti  Palace.  Very  rare  specimen. 

Height,  11  inches;  length,  2214  inches. 


From  the  Martinis  Pucci  Collection,  Florence. 


TERRA  COTTAS  AND  STUCCOS 
XV  AND  XVI  CENTURIES 


153 — Pieta:  Painted  Stucco.  North  Italian  or  German.  XV 
Century 

(By  an  imitator  of  Benedetto  Bonfigli) 

The  Virgin  is  seated,  wearing  a pleated  gown  girdled  at  the  waist  and 
a mantle  covering  her  head  and  shoulders  and  draped  in  front.  On  her 
knees  is  the  body  of  the  dead  Christ.  He  is  naked  except  for  His 
loins.  On  His  long  hair  is  a crown  of  thorns.  His  eyes  and  mouth  are 
half  open.  The  Virgin  looks  down  on  Him  with  profound  suffering. 
The  group  is  obviously  inspired  by  the  Pieta  of  Benedetto  Bonfigli  in 
St.  Peter’s  Church  in  Perugia.  The  gown  of  the  Virgin  and  the  way 
her  garments  are  draped  can  also  be  observed  in  other  paintings  by 
Bonfigli.  As  a whole,  however,  the  group  shows  many  analogies  with 
sculptured  groups  representing  the  same  subject  in  various  German 
museums  and  private  collections.  There  is,  for  instance,  a Pieta  in  the 
Berl  in  Mu  seum  showing  striking  similarity  as  well  in  the  composition 
as  in  the  character  of  the  personages.  (See  Wilhelm  Voge : “Die 
deutschen  Bildwerke  und  die  der  anderen  Cisalpinen  Landern,”  p.  26,  No. 
55.)  Among  other  Pietas  showing  great  similarity  are  two  groups  in 
the  National  Bavarian  M useums  (Hugo  Graf:  “Catalogue  des  Bayer- 
isehen  Nationalmuseums,”  pi.  VIII,  No.  338,  and  pi.  IX,  No.  337)  and 
one  group  in  the  Schniitgern  Collection,  reproduced  in  the  Catalogue  by 
Fritz  Witte,  pi.  39. 


( Illustrated ) 


Height,  22  inches. 


No.  153  Pieta:  Painted  Stucco.  North  Italian  or  German. 

XV  Century 


LORENZO  GHIBERTI 
1381 — 14*55 

154 — Alto-relief  in  Polychrome  Terra-cotta.  Florentine, 
XV  Century 

The  half-length  figure  of  the  Virgin,  clothed  in  a red  robe  and  blue 
mantle  tvith  frilled  border,  holds  in  both  her  arms  the  Infant  Christ, 
pressing  Him  closely  to  her  side  with  maternal  love.  He  is  clothed  in 
a single  linen  garment  and  rests  His  left  hand  on  His  Mother’s  arm 
and  His  right  on  her  right  hand,  pressing  His  chubby  cheek  closely  to 
her  face.  On  a molded,  gilded  and  painted  base  of  wood  and  placed 
in  a wooden  tabernacle. 

Note:  Though  most  of  Ghiberti’s  existing  work  is  in  metal  (he  was  a gold- 
smith and  the  son  of  a goldsmith),  there  are  many  terra-cotta  and  small  works, 
according  to  Sir  J.  C.  Robinson,  which  are  known  to  be  from  his  hand. 

Height  of  terra-cotta , 28%  inches ; width,  I8I4  inches. 

( Illustrated) 


No.  15-1 — Alto-relief  in  Polychrome  Terra-cotta.  Florentine 
XV  Century.  By  Lorenzo  Ghiberti 


MICHELOZZO  MICHELOZZI  (MICHELOZZO  DI  BARTOLOMEO  DI 

GHERARDO),  Schooi,  of 

155 — Group  in  Terra-cotta:  The  Virgin  and  Child.  Floren- 
tine. XV  Century 

The  half-length  figure  of  the  Virgin  is  seen  standing,  her  body  slightly 
thrown  to  the  left.  On  her  right  arm  is  the  Infant  Jesus  in  a long 
sleeveless  gown.  The  Virgin  herself  wears  a gown  girdled  at  the  waist 
and  a mantle  covering  her  head  and  shoulders  and  draped  in  front. 
Curly  hair  parted  in  the  middle  frames  her  face,  which  has  both  a serious 
and  pensive  expression,  while  that  of  the  Child  is  smiling.  On  a modern 
wood  base. 

The  group  clearly  shows  the  direct  influence  of  Michelozzo.  It  may  have  been 
made  in  his  atelier  or  by  an  artist  influenced  by  his  work.  It  is  interesting  to  com- 
pare it  with  the  Virgin  and  Child  in  the  Berlin  Museum  and  with  a marble  relief 
from  the  Aragazzi  tomb  in  the  Dome  of  Montepulciano.  (See  Bode:  “Denkmaler,” 
pi.  173,  Kid.) 

Height , without  base , 28  inches. 


( Illustrated) 


No.  155 — Group  in  Terra-cotta.  The  Virgin  and  Child.  Florentine. 
XV  Century.  School  of  Michelozzo  Michelozzi 


LORENZO  VECCHIETT A 
1412  14.80 

156 — Bas-relief  Statuette  in  Terra-cotta.  Italian 

Representing  St.  Jerome  standing.  The  head  inclined  to  the  right,  with 
an  expression  at  once  sweet  and  contemplative,  regards  a skull  which 
is  held  in  the  right  hand.  A very  beautiful  terra-cotta,  polychromed, 
and  of  uncommon  modeling. 


Height,  2 feet  6 inches ; width,  11  inches. 


LUCA  DELLA  ROBBIA 
1400 — 14*82 

157 — Statuette  in  Terra-cotta:  A Shepherd  in  Adoration. 
Italian 

Model  executed  by  the  master  before  lie  invented  the  enamel  on  terra- 
cotta. This  statuette  is  seen  reproduced  in  bis  bas-reliefs  and  served  as  a 
model  also  for  his  pupils.  The  modeling  is  broad  and  free;  every  detail 
shows  the  mark  of  a sure  and  practised  hand. 


Height,  2 feet  4 inches. 


ANTONIO  llOSSELLINO 

1427—1478 

158 — Bas-relief  in  Painted  Stucco.  Italian 

Representing  the  Virgin  seated,  holding  in  her  arms  the  little  Jesus.  In 
a very  beautiful  tabernacle,  finely  decorated.  In  a wood  frame. 

Height,  2 feet  8t/o  inches;  width,  1 foot  5%  inches. 


( Illustrated ) 


No.  158 — Bas-relief  in  Painted  Stucco.  Italian. 
XV  Century.  By  Antonio  Rossellino 


BENEDETTO  DA  MAIANO 

1444 — 1497 

159 — Bust  in  Stucco.  Italian 

Representing  the  portrait  of  an  old  man.  The  man  is  bald,  has  a 
pronouncedly  aquiline  nose  and  the  expression  of  the  face  denotes  much 
energy;  on  the  breast  is  drapery,  but  the  neck  is  uncovered.  Traces  of 
polychrome.  The  bust  expresses  character  and,  examining  attentively 
its  outlines,  one  finds  in  the  execution  of  the  concept,  unmistakably  the 
manner  of  treatment  employed  bv  Benedetto  da  Maiano.  On  original 
wooden  base. 

As  regards  the  subject  of  the  bust,  it  may  be  said  to  be  Giovanni  Gioviano  Pon- 
tano  (1426-1503),  poet  and  secretary  to  His  Majesty,  the  King  of  Naples,  Ferdinand 
I.  There  is  a bust  in  bronze  of  him  in  Genoa  at  the  Palazzo  Bianco;  it  is  published 
in  “Schubring  in  Die  Plastik  Sienas  in  Quattrocento,”  p.  193. 

This  bust  in  stucco  is  approached  in  strength  and  character  of  modeling  only 
by  Donatello’s  bust  of  Nicolo  da  Uzzano,  to  be  found  in  the  Bargello  Museum, 
Florence. 

Height , 1 foot  7 inches;  width , 1 foot  7 inches. 


( Illustrated ) 


No.  159 — Bust  in  Stucco.  Italian.  XV  Century 
By  Bi  JNEDETTO  DA  M AIANO 


ANDREA  DELLA  ROBBIA 
1435—1525 


160 — Bas-relief  in  Enameled  and  Polychromed  Terra-cotta. 
Italian 

Virgin  and  Child.  Against  a blue  background  the  Madonna  is  rep- 
resented in  half  figure  wearing  a gown  girdled  at  the  waist  over  which 
is  draped  a mantle.  She  is  standing  behind  a balustrade  and  supports 
the  naked  Infant  Jesus,  who  stands  in  front  of  her  holding  a bird  in 
His  right  hand,  while  with  His  left  He  holds  on  to  the  ends  of  His 
Mother’s  girdle.  Nimbi  are  behind  their  heads.  The  figures  are  enam- 
eled in  white.  Modern  frame. 

The  group  belongs  to  the  third  manner  of  Andrea  Della  Robbia,  extending  from 
about  1.500-152.5.  In  this  period  his  productions  show  broadly  treated  draperies  and 
a style  both  simpler  and  heavier  than  his  second  manner.  The  Child  is  generally 
represented  naked,  with  His  hip  projected,  and  holding  a bird  in  His  hand. 

Height , 1 foot  1 1 >/o  inches;  width,  1 foot  3 inches. 

Formerly  in  the  collection  of  Marquis  Spinola , Genoa. 

Comes  from  the  Ferroni  Collection,  Home. 

lie  produced  in  Allan  Marquand:  “ Della  llohbias  in  America ,”  pi.  XV. 

For  analogies,  see  “ Madonna  of  the  Architects ” in  the  National  Mu- 
seum, Florence ; Virgin  and  Child  in  Santa  Maria  Nuova;  Relief 
in  the  Boston  Museum  coming  from  the  Share  Collection ; relief  in 
the  Berlin  Museum  coming  from  the  Simon  Collection,  etc. 


( Illustrated  in  Color) 


NO.  160— Bas-relief  in  Enameled  and  Polychromed 
Terra-cotta.  Italian 
XV  c 'ext  UR  Y 

By  Andrea  Della  Robbia 


VINCENZO  DANTI 
1530  -1570 

161 — Bust  in  Terra-cotta:  A Scourger.  Italian 

It  is  the  model  in  terra-cotta  made  by  the  artist  for  his  large  statue 
found  in  the  doorway  of  the  Baptistry,  Florence,  in  the  group  repre- 
senting Christ  in  the  midst  of  the  scourgers.  In  this  terra-cotta  one 
recognizes,  beyond  a doubt,  the  hand  of  the  great  artist,  who  knew  how 
to  impart  such  an  intense  lifelike  impression  and  expressiveness  to  his 
work.  On  a marble  base. 


Height , 18  inches. 


LEONE  LEON  I 
1509—1590 

162 — Group  in  Terra-cotta.  Italian 

Model  of  a monument,  which  by  order  of  Charles  V was  to  be  erected  at 
Brussels  to  commemorate  the  conquest  of  Flanders.  Alexander  Far- 
nese,  the  famous  general  to  whom  was  due  the  success  of  the  fortunate 
campaign,  is  standing  on  the  banks  of  the  Scheldt,  while  the  personifica- 
tion of  Flanders  appears  in  chains,  and  a Victory  waves  the  standard. 
On  terra-cotta  base  in  the  model  of  a Venetian  well  of  the  sixteenth 
century. 

Group:  Height , 17  inches. 
Base:  Diameter,  8 inches. 

(Illustrated) 


No.  1(52 — Group  in  Terra-cotta.  Italian.  XVI  Century. 
By  Leone  Leoni 


PAINTINGS  OF  THE  XV,  XVI,  XVII 
AND  XVIII  CENTURIES 


163 — Painting  on  Wood.  Madonna  and  Child.  Florentine. 
XV  Century.  By  a follower  of  Fra  Filippo  Lippi 

The  Virgin  is  seen  against  an  architectural  background  formed  by  a 
marbled  niche  and  decorated  with  garlands  and  flowers.  She  is  repre- 
sented half  len  gth,  wearing  a red  grown  girdled  at  the  waist  over  which 
is  draped  a blue  mantle.  Her  blond  hair  is  parted  in  the  middle  and 
is  partly  covered  with  a white  scarf  which  is  draped  in  front  and  around 
her  shoulders.  Her  head  is  bent  toward  the  Infant  sitting  in  her  arms 
and  embracing  her.  In  a modern  gilt  tabernacle  frame.  This  charming 
little  picture  is  obviously  inspired  by  Fra  Filippo  Lippi.  The  Virgin 
has  much  similarity  with  the  picture  in  the  Louvre  ascribed  to  Fra 
Filippo  Lippi  and  representing  the  Madonna  and  Child  with  Angels. 
She  shows  the  same  elongated  face  with  a long  and  pointed  chin  and  the 
nose  is  similarly  shaped.  The  same  resemblance  can  be  observed  in 
comparing  it  with  a picture-  in  the  National  Gallery  in  London  repre- 
senting the  Virgin  and  Child  with  an  angel  ascribed  to  Fra  Filippo  Lippi. 
The  type  of  the  Virgin  is  the  same  and  the  head  is  bent  similarly.  The 
Infant  Himself  resembles  Infants  by  Fra  Filippo  Lippi  as  well  in  type  as 
in  expression. 

Height,  24 l/o  inches;  width,  1 7 % inches. 

Note:  This  picture  was  for  many  centuries  in  the  castle  of  the  Counts  dell’ 
Acerra,  near  Naples.  Mr.  Bernard  Berenson  (see  “Catalogues  of  a Collection  of 
Paintings  and  Some  Art  Objects,”  Mr.  J.  G.  Johnson’s  Collection,  Philadelphia,  1914, 
Vol.  I,  p.  23)  attributes  many  paintings,  ascribed  to  the  followers  of  Filippo  Lippi, 
to  the  Master  of  the  San  Miniato  Altarpiece;  for  instance,  one  in  San  Miniato,  one 
in  the  Minneapolis  Museum,  one  in  Detroit,  Michigan,  one  in  the  Johnson  Collection, 
another  in  Oldenburg,  etc.  All  these  paintings  mentioned  closely  resemble  the  picture 
in  this  collection. 


( Illustrated) 


NO.  163 — Painting  ox  Wood.  Florentine.  XV  Century. 
By  a Follower  of  Fra  Filippo  Lippi 


164 — Painting  on  Wood.  Venetian.  XV  Century 

The  painted  front  of  a large  chest,  in  three  panels,  the  one  at  the  right 
representing  a cavalier  in  an  expectant  attitude  awaiting  the  bark  that 
should  bring  his  bride;  the  center  panel  shows  a cavalier  following  a 
nymph  ; the  left  one  a combat  between  a cavalier  and  a warrior. 

This  picture  will  shortly  he  published  by  Prof.  Frank  .T.  Mather,  in  his  work  on 
Cassone  Panels. 

Length,  70%  inches;  width,  19  inches. 


165 — Painting  on  Canvas.  Venetian.  XVI  Century 

Representing  an  old  man  studying  with  geographical  instruments,  prob- 
ably the  portrait  of  a geographer  of  this  period. 

Height,  4 feet  7 inches;  width,  8 feet  9 inches. 


GIROLAMO  BEDOLO  MAZZUOI  A CALLED  MAZZOLINO 

Parma  : 1570 


166 — Painting  on  Wood.  Italian 

Representing  the  Adoration  of  the  Shepherds.  The  picture  is  treated  in 
the  usual  manner  of  sacred  pictures  in  the  Italian  art  of  the  Renaissance, 
and  together  with  the  Virgin,  the  Child,  St.  Joseph  and  the  shepherds, 
there  are  represented  several  other  persons.  In  the  midst  of  these  last- 
named,  the  figure  of  a noble  lady  in  the  background,  with  a striking 
face  and  costume,  takes  the  eye;  very  probably  it  is  the  portrait  of  the 
lady  to  whose  order  the  picture  was  created,  as  a votive  offering.  In 
original  gilded  wood  frame. 

Painting-.  Height , 10 1/2  inches;  width , 30  inches. 


167 — Painting  on  Canvas.  Dutch  School.  XV I Century 

Representing  the  portrait  of  a lady,  full-face  view,  in  a black  dress  with 
a small  collar.  The  figure,  powerful  in  its  conception,  stands  out  boldly 
from  the  dark  background,  a strong,  vigorous  piece  of  work.  The  em- 
broidery that  adorns  the  sleeves  of  her  simple  costume  and  the  gold 
jewelry  with  which  she  is  so  generously  adorned  are  painted  with  that 
niceness  of  skill  which  seems  properly  to  belong  to  the  Flemish  and 
Dutch  artists  of  that  period.  In  original  wood  frame. 

Height.  30  inches;  width.  21  inches. 


168 — Painting  on  Panel.  Flemish.  XVI  Century 

Representing  a domestic  scene  with  three  women  and  men  preparing 
food,  around  a table.  Nice  composition.  In  a gilded  wood  frame. 

Height.  19l/o  inches;  length,  26  inches. 


ALESSANDRO  ALLORI— called  IL  BRONZINO 
1535 — 1607 

109 — Painting  on  Wood.  Italian 

Portrait,  life-size,  of  Bianca  C'appello,  Grand  Duchess  of  Tuscany,  wife 
of  Francesco  de’  Medici;  she  is  dressed  in  a rich  costume,  light  in  color, 
and  has  by  the  hand  a baby  boy  who  is  holding  a carnation.  In  this 
portrait  is  seen  all  the  strength  of  the  artist,  of  which  such  striking 
proof  is  given  in  the  color  and  the  execution  of  the  figures,  so  delineated 
that  they  seem  to  be  living  before  you.  In  its  original  gilded  wood 
frame. 

Height , 4(i  inches;  width,  35  inches. 


( Illustrated) 


No.  169 — Painting  on  Wood.  Italian.  XVI  Centura 
By  Alessandro  Allori 


170 — Painting  on  Panel.  Flemish.  XVI  Century 

Representing  the  Virgin  seated,  holding  the  Child;  near  them  the  por- 
trait of  an  archbishop  in  his  robes  in  adoration.  Black  wood  frame. 

Height , 2114  inches;  width,  1 <i 14  inches. 


( Illustrated ) 


mm 


No.  170 — Painting  on  Panel 


Flemish.  XV I Century 


SALVATOR  ROSA 

1615 — 1 673 


171 — Large  Oval  Painting  on  Canvas.  Italian. 

It  represents  the  portrait  of  an  Italian  nobleman,  standing.  He  is 
dressed  in  a black  gown;  in  the  back  a red  curtain.  In  old  gilded  wood 
frame. 


Type  of  GIOVANNI  BATTISTA  PIAZZETTA 

1682—1754 

172 — Painting  on  Canvas.  Venetian 

Representing  a young  girl  seen  to  the  bust. 

Height , 20^4  inches;  width,  171,4  inches. 


GIOVANNI  BATTISTA  TIEPOLO 

1693—1770 

173 — Painting  on  Canvas.  Italian 

Representing  the  “Presentation  in  the  Temple.”  In  a picture  with 
much  architectural  detail  is  represented  the  Virgin  in  a red  dress  with 
a blue  mantle,  kneeling,  and  the  Infant  is  in  the  arms  of  the  Patriarch. 
In  the  left  corner  is  seen  the  back  view  of  a figure  surrounded  by  other 
personages.  This  painting  is  certainly  a sketch  made  by  the  great 
master  for  a larger  picture  that  he  was  to  paint.  In  original  gilded 
wood  frame. 

Height,  181/h  inches;  width,  141/4  inches. 


GIOVANNI  DOMENICO  TIEPOLO 

1726—1796 

174 — Painting  on  Canvas.  Italian 

Painting  representing  Christ  with  his  disciples  in  the  act  of  destroying 
the  tree.  The  wonder  of  the  Apostles  and  the  intrepidity  of  Christ  is 
depicted  in  an  extraordinary  manner.  In  the  background  is  the  sea 
and  a view  of  Venice.  In  original  frame. 

In  a painting  in  the  Bertini  Gallery  are  found  the  same  models  that  served  the 
artist  for  this  picture. 

Length,  74l/o  inches;  width , 33  inches. 


RARE  FURNITURE 


No.  175 — Side  Views:  Dresser.  South  France. 


XI-XII  Century 


No.  175 


Front  View  : Dresser. 


South  France.  XI-N.II  Century 


175 — Dresser.  South  France.  Partly  of  the  XI-XII  Cen- 
tury and  Partly  of  the  Late  XV  Century 

This  is  one  of  the  very  rare  pieces  of  furniture  coining  down  to  us  from 
this  period.  It  was  probably  made  for  a Sacristy  and  carved  after 
Oriental  design.  The  front  of  the  dresser,  which  w'as  added  in  the  late 
fifteenth  century,  is  divided  by  a horizontal  line  and  shows  in  each 
division  two  doors  and  two  panels  (the  drawing  of  these  figures  and 
the  costume  of  the  shepherds  show  the  influence  of  the  Renaissance 
period).  The  lower  division  represents  on  one  door  the  mystical  lamb 
surmounted  by  a cross  and  on  either  side  crows,  symbolizing  the  evil 
forces.  On  the  other  door  is  an  heraldic  lion.  In  the  panels  on  either 
side  are  seated  apostles,  holding  books,  probably  St.  Peter  and  St. 
Paul.  In  the  upper  part  is  a frieze  depicting  birds,  arranged  in  the 
same  decorative  way  that  is  found  in  Oriental  reliefs  and  textiles.  On 
the  lower  edge  of  the  sides  are  borders  with  designs  of  conventionalized 
leaves  and  branches. 

The  panel  at  the  right  side  shows  in  the  upper  part  an  eagle  with 
outspread  wings  and  two  doves;  in  the  lower  part  a branch  from  which 
two  birds,  standing  on  either  side,  are  eating  (this  is  one  of  the  most 
characteristic  motifs  found  in  Persia  and  Syria).  The  borders  show 
different  patterns  such  as  are  used  in  the  Coptic  decorations  and  in  the 
early  mediaeval  Western  ornamentations. 

The  left-side  panel  shows  in  the  upper  part  in  a circle  the  monogram 
of  Christ  and  on  either  side  a dove.  In  the  lower  part  an  angel  kneels, 
adoring  the  face  of  Christ.  Above,  in  both  partitions,  are  human  heads. 

The  side  panels  just  described  are  of  the  late  eleventh  or  early 
twelfth  century.  The  technique  shows  many  analogies  with  sculptural 
representations  mostly  of  Oriental  origin,  and  with  several  doors  of 
churches  carved  in  wood  from  the  eleventh  and  twelfth  centuries.  Most 
of  these  doors  are  in  Italy,  hut  there  are  also  several  doors  in  France 
executed  in  the  same  fiat  technique;  viz.,  the  Cathedral  of  Puy,  the 
church  of  Chamalieres  ( Hautc-Loire ) . the  church  of  Santa  Maria  in 
Cellis,  near  C’arsoli,  and  the  church  of  San  Pietro  in  Alba  Fucenza.  The 
carvings  show  clearly  the  Oriental  influence  which  becomes  evident  in 
comparing  the  dresser  with  a coffer  of  Coptic  origin  in  the  Cathedral  of 
Terracina,  where  figures  and  animals  similarly  executed  are  represented. 
Upper  right  hand  door  modern. 

Height,  4 feet  9 inches;  width,  .3  feet  (i  inches;  depth,  1 foot  1 ( ) Vj  inches. 


( Illustrated ) 


176 — Chair  in  Bronze.  French.  X V Century 

Dagobert  type  of  chair,  with  covering  of  red  damask,  finished  with  gold 
galloon.  Very  rare  specimen  of  fifteenth  century  workmanship. 


177 — Large  Tabernacle  in  Carved  Wood.  Italian.  XV  Cen- 
tury 

Large  tabernacle  in  carved  wood,  polychromed,  with  very  fine  design 
in  leaves,  flowers  and  cherubs’  heads.  Above,  in  the  center,  the  Holy 
Ghost. 

Height , 5 feet  1 inches;  width , 2 feet  10  inches. 


178 — Two  Wall  Pedestals  in  Gilded  Wood.  Italian.  XV 
Century 

Shaped  as  scrolled  consoles.  The  bases  are  decorated  with  boldly  carved 
acanthus  leaves  and  the  shafts  are  fluted.  Entirely  gilded. 

Height , 5 feet  2 inches. 


179 —  Center  Table  in  Walnut.  Italian.  X Y Century 

Oblong  to})  with  molded  edge,  supported  by  four  baluster  legs,  with  sim- 
ple carving;  four  plain  oblong  stretchers  between;  apron  beautifully 
carved  in  flower  design.  Beautiful  bronze  patina. 

Height,  3 feet;  length,  5 feet  10  inches;  width,  2 feet  6 inches. 

180 —  Small  Chest  in  Walnut.  Abruzzo.  XV I Century 

Rectangular  shape,  with  hinged  lid.  The  inside  of  the  cover  has  a de- 
sign burnt  in  the  wood,  representing  the  story  of  Solomon  deciding 
the  ownership  of  the  baby  contended  for  by  two  women ; at  the 
sides  and  around  it  are  figures  with  musical  instruments,  eagles  and 
other  ornaments.  The  front  is  divided  into  several  panels  and  treated 
in  the  same  way.  The  sides  have  iron  handles.  An  unusual  piece.  Box 
made  to  hold  firewood. 

Height,  16  inches;  length,  32 l/>  inches;  width,  18  inches. 


181 — Walnut  Chair.  Umbrian.  XVI  Century 

Sgabello  type.  Shield-shaped  back,  and  top  carved  witli  voluted  scrolls, 
tbe  center  with  acanthus  leaves  and  fluted  fan.  Front  support  carved 
with  dolphins  and  honeysuckle.  Octagonal  molded  and  carved  scat  and 
shaped  hack  support. 


182 — Six  Walnut  Chairs.  Italian:  Umbrian.  XVI  Century 

Sg  ahcllo  type;  with  carved  scrolled  panel  hacks;  carved  apron  panel; 
seat  with  carved  ornamentation  on  ends;  carved  side  supports  for  hack 
finished  w ith  acanthus-leaf  finial ; straight  legs  and  stretchers. 


183 — Pair  of  Tuscan  Walnut  Chairs.  Italian.  XV  L Century 

Sgabello  type.  Triangular-shaped  backs,  the  sides  carved  with  scrolled 
acanthus-leaf  volutes  set  at  an  angle,  the  tops  with  voluted  acanthus 
leaves,  the  centers  with  molded  vertical  ribs.  Molded  octagonal  seats  on 
square  pedestals,  shaped  front  supports  and  shaped  back  supports. 


184— Walnut  Armchair.  Italian.  XVI  Century 

Straight  square  back,  with  carved  and  gilded  finials.  Straight  arms 
on  turned  supports,  straight  square  legs  and  carved  front  rail.  Seat 
and  back  covered  with  red  velvet. 


185 — Four  Chairs  in  Walnut.  Italian.  XV I Century 

Square  back  with  square  carved  side  supports,  shaped  back  rail  carved 
with  rosettes  and  scrolls,  horizontal  carved  splat  with  turned  spindles, 
straight  legs,  square  wooden,  molded  scat. 


186-  Two  Chairs  in  Walnut.  Italian.  XVI  Century 

High  straight  back,  with  carved  vase-shaped  finials,  the  head-rail  and 
horizontal  splats  carved  and  pierced  in  scroll  pattern,  and  having  a 
central  panel  inlaid  in  a lighter-colored  wood.  Square  wooden  seat ; 
straight  square  legs. 


] 87 — Two  Chairs.  Wood.  Late  XVI  Century 

The  composition  as  well  as  the  decoration  is  in  the  Mediaeval  Gothic 
style.  The  quatrefoils  decorating  the  chairs  are  made  after  Andrea 
Pisano,  who  sculptured  scenes  relating  to  the  story  of  St.  John  the 
Baptist  and  of  which  some  are  here  reproduced. 

It  is  impossible  to  identify  satisfactorily  the  coats-of-arms  seen  on  the  chairs. 
One  of  them,  however,  shows  the  arms  of  a noble  family  of  Verona,  and  another  a 
noble  family  of  Dalmatia.  Much  restored. 


188 — Walnut  Chair.  Florentine.  XVI  Century 

Sgabello  type.  Shield-shaped  back,  the  sides  carved  with  voluted  acan- 
thus leaves,  the  top  with  scrolls  and  pointed  leaves,  the  center  with 
escutcheon  of  coat-of-arms.  Square  pedestal,  front  support  carved  with 
voluted  acanthus  leaves  and  fluted  base.  Octagonal  molded  seat  with 
shaped  back  support. 


189 — Bureau  in  Walnut.  Italian.  XV 1 Century 

Bureau  with  three  drawers,  the  front  of  each  one  divided  into  small 
panels;  the  center  decorated  with  a carved  mask.  Side  ornaments  with 
carved  cherubs’  heads  and  foliage.  Molded  base. 

Height , 3 feet  214  inches;  length , 4 feet  9 1 •_>  inches;  depth.  1 foot 
1 1 ;>4  inches. 


190 — Walnut  Cabinet.  Florentine.  XVI  Century 

Rectangular  shape.  Oblong  molded  cornice  top  and  carved  frieze,  which 
forms  two  small  drawers.  Below,  the  front  is  divided  into  two  panels 
(forming  hinged  doors,  with  bronze  door  pulls)  by  three  fluted  and 
astragalled  Ionic  pilasters.  The  base  below  is  molded.  The  ends  are 
paneled  and  flanked  by  pilasters  matching  those  on  the  front. 

Height , 3 feet  6i/o  inches;  length,  6 feet;  depth,  2 feet  3 inches. 


191 — Cabinet  in  Walnut.  French:  Gothic  Style.  XV]  Cen- 
tury 

The  cabinet  is  rectangular  shape,  with  chamfered  ends;  flat  molded 
hinged  top.  The  front  and  sides  are  composed  of  two  rows  of  carved 
paneling  separated  by  projecting  moldings.  In  the  middle  of  the  upper 
row  in  front  is  a hinged  door  with  a beautiful  Gothic  iron  lock.  In 
the  lower  paneling  is  a drawer.  The  cabinet  is  supported  on  four 
carved  legs.  Above  the  cabinet  is  an  upright  back  piece  divided  into 
four  carved  panels,  surmounted  by  a carved  and  pierced  frieze.  This 
is  surmounted  by  three  carved  angels.  On  the  top  and  sides  are  the 
coat-of-arms  of  a Savoie  family.  Very  rare  shape.  (Restored.) 

Height,  8 feet  3 inches;  width,  3 feet  9 inches;  depth,  2 feet  1 inch. 


192— Mirror  Frame  in  Walnut.  Italian:  Florentine.  XVI 
Century 

The  frame  is  decorated  partly  with  a conventionalized  Greek  pattern 
and  partly  with  a pattern  like  a carved  chain.  A row  of  pearls  is 
seen  on  the  lower  part.  On  the  top  is  a human  mask,  bearded,  with 
heavy  garlands  on  each  side  of  its  mouth.  On  the  sides  are  masks 
of  young  women  wearing  head-dresses  decorated  with  plumes.  Ex- 
ceptionally fine  work. 

Height,  26  inches ; width,  18  inches. 

There  are  analogies  with  several  frames,  one  in  the  Benoit  Oppen- 
heim  Collection,  reproduced  in  Catalogue,  No.  109;  one  in  the 
Hainauer  Collection;  one  in  the  Kunstgewerbe  Museum,  Berlin, 
both  reproduced  in  Guggenheim-.  “Le  Cornice  Italiane,”  pi.  81 
and  89.  The  masks  on  sides  show  similarities  with  a mask  on  a 
frame  in  the  Guggenheim  Collection,  Venice;  and  is  reproduced 
in  the  same  book,  pi.  99. 


( Illustrated) 


No.  192 — Mirror  Frame  in  Walnut.  Italian:  Florentine.  XVI  ( ENTURT 


193 — Walnut  Cassone.  Florentine.  XVI  Century 

Rectangular  shape,  with  hinged  lid.  The  paneled  front  is  carved  all 
over  in  a scrolled  foliage  design.  In  the  center,  two  sirens  holding  a 
coat-of-arms.  At  the  ends  of  the  panel  are  carved  lions’  heads  and 
bunches  of  grapes.  The  base  is  elaborately  carved  and  molded,  and 
rests  on  paneled  feet.  The  lid  has  a carved  border.  In  the  middle 
of  side  panels  are  iron  handles. 

Height , 2 feet;  length , 5 feet  7 inches ; depth,  1 foot  10  inches. 
( Illustrated) 


194 — Walnut  Cassone.  Florentine.  XVI  Century 

Rectangular  shape,  with  hinged  lid.  The  paneled  front  is  carved  all 
over  in  a scrolled  foliage  design.  In  the  center,  two  sirens  holding  the 
coat-of-arms  of  the  Castelli  family.  At  the  angles  are  female  caryatides. 
The  base  is  elaborately  carved  and  molded.  The  lid  has  a carved  border. 
All  is  supported  on  lion’s  paw  feet.  In  the  middle  of  side  panels,  iron 
handles. 

Height,  1 foot  HR/o  inches;  length,  5 feet  3 inches;  depth,  1 foot 
1 1 1/b  inches. 

( Illustrated ) 


195 — Walnut  Cassone.  Amiuzzo,  Italy.  XVI  Century 

Rectangular  shape,  with  hinged  lid,  bordered  with  carving.  The  front 
and  side  sunken  panels  are  surrounded  by  a molding  carved  in  leaf 
pattern,  and  have  in  the  center  a contemporary  lock  ornament  and  key. 
The  base  on  the  front  and  sides  is  boldly  carved  in  a fruit  and  foliage 
design.  The  angles  are  formed  by  female  caryatides  ending  in  volutes. 
The  feet  are  lion’s  paw  feet  on  circular  bases. 

II  eight,  1 foot  10  inches;  length,  4 feet  10  inches;  depth,  2 feet. 


196 — Walnut  Cassone.  Florentine.  XVI  Century 

Rectangular  shape,  with  hinged  lid  molded  and  carved.  The  front  panel 
is  molded  and  carved  on  either  side  of  a central  carving  of  a child’s  head 
with  two  rectangular  designs,  an  oval  in  the  center  surrounded  by  foliage. 
Beneath  this  is  a deep  carved  panel  in  oval  designs ; all  supported  on  a 
heavily  molded  base.  The  side  panels  have  iron  handles.  Rare  shape. 

Height,  2 feet  3 inches ; length,  5 feet  (1  inches;  depth,  2 feet. 
( Illustrated ) 


197 — Walnut  Cassone.  Florentine.  XVI  Century 

Rectangular  shape,  with  hinged  lid.  The  front  very  beautifully  carved 
with  two  sirens  and  Eros  holding  a wreath  enclosing  a coat-of-arms. 
The  sides  are  heavily  carved  in  a foliage  pattern.  The  domed  lid  is 
molded  and  the  feet  are  formed  as  lion’s  paws.  There  is  an  incurved 
base  which  is  gadrooned.  Very  beautiful  carving;  Florentine  bronze 
patina. 

Height,  2 feet  2 inches;  length,  (5  feet;  width,  2 feet. 
( Illustrated) 


198 


Walnut  Cassone.  Florentine.  XVI  Century 

Companion  lo  the  preceding. 


9UI 


199 — Bookcase.  Venetian.  XVI  Century 

Walnut  bookcase  ornamented  with  carved  and  gilded  and  colored  side 
pieces  and  a pediment  with  a winged  bull  symbolizing  an  evangelist.  The 
bookcase  is  divided  into  two  sections  with  two  glazed  doors  in  each 
section,  lined  with  green  silk.  The  side  panels  open  and  are  fitted  with 
small  shelves.  There  are  two  narrow  drawers  at  the  bottom.  See  Good 
Furniture , September,  1917. 

Height , 8 feet  9 inches;  length,  5 feet  8 inches;  depth,  17  inches. 
( Illustrated) 


200 — Doorway  in  Carved  and  Gilded  Wood.  Florentine.  XVI 
Century 

There  is  a fluted  column  on  either  side,  with  Corinthian  capital  sup- 
porting a lintel  carved  and  gilded  and  polvchromed  in  scrolled  design  and 
cherubs’  heads.  The  columns  are  on  molded  bases  with  gilded  eoat-of- 
arms. 

Height,  11  feet  1 inch;  extreme  width,  9 feet;  depth,  10  inches. 


No.  199 — Bookcase.  Venetian.  XVI  Century 


201 — Large  Center  Table  in  Walnut.  Italian.  XVI  Century 

Heavy  oblong  top,  with  molded  edge.  The  lyre-shaped  legs  are  ex- 
ceptionally heavy  and  richly  carved  with  hold  acanthus-leaf  volutings, 
enclosing  molded  panels  and  terminating  in  lion’s  paws.  The  longi- 
tudinal brace  is  elaborately  carved. 

Height,  2 feet  8 inches;  length,  6 feet  IQ1/*  inches;  width,  2 feet  9 inches. 


( Illustrated) 


No.  201 — I iARGE  Center  Table  in  W alnut.  Italian.  XVI  Century 


202 — Table  in  Walnut.  French:  Bachelier  be  Toulouse.  XVI 
Century 

The  table  is  of  carved  walnut,  decorated  with  little  window-like  spaces 
between  the  columns.  It  has  small  medallions  inscribed  inside  of  or- 
naments in  intaglio,  cherubs’  heads  and  swans. 

Attributing  this  to  Bachelier  cle  Toulouse,  who  followed  a course  of  instruction 
under  Michael  Angelo  in  Italy,  is  justified  by  comparing  it  with  other  pieces  of 
furniture  by  the  French  artist,  now  in  the  Cliiny  Museum  and  in  the  South  Kensing- 
ton Museum,  London. 

Length,  I feet  11  inches;  height,  2 feet  inches;  width,  2 feet 
7 l/o  inches. 


( Illustrated ) 


No.  20  2 — Table  in  W a lx  tit.  French.  XVI  Century. 
By  Bachelier  de  Toulouse 


*203 — Bench  in  Carved  Wood.  Florentine.  XVI  Century 

Bench  in  carved  walnut  with  back  in  balustrade  effect.  On  the  arms 
are  seen  small  cherubs’  heads,  supported  on  four  large  voluted  brackets 
on  molded  bases. 

Height,  3 feet  7 inches;  length,  8 feet  2 inches;  width,  1 foot  7 inches. 


( Illustrated ) 


04 — Cabinet  in  Oak.  French  : School  of  Lyons.  Second  Half 
of  XVI  Century 

The  cabinet  is  single  bodied.  It  lias  two  doors  and  two  drawers  in  front 
profusely  decorated.  The  decoration,  as  in  most  of  the  productions  of 
the  School  of  Lyons,  consists  of  hat  ornamental  designs  composed  of 
foliage  scrolls,  rosaces,  garlands,  grotesque  masks  and  female  heads. 

Height , .‘3  feet  6 inches;  width,  5 feet  8 inches;  depth,  2 feet  4 inches. 
From  the  Bardini  Collection. 

Illustrated  by  Bode:  “ Italicnische  Hausmobel  dcr  Renaissance  ” p.  73. 
The  cabinet  at  first  sight  seems  Italian.  A more  attentive  exami- 
nation, however,  shows  its  close  relationship  to  the  productions  of 
Lyons,  relieve  French  workers  were  well  acquainted  with  Italian 
productions  and  with  works  of  antiquity.  The  same  elements  of 
decoration  are  seen,  among  others,  in  a cabinet  and  chest  in  the 
Musee  des  Arts  Dccorcitifs,  Baris  ( Met  man  et  Brieve:  La  Musee 
des  Arts  Dccorcitifs.  Le  Bois,  Vol.  I,  pi.  55);  in  a chest  and 
cabinet  in  the  Metropolitan  Museum  of  Art;  in  a cabinet  from  the 
Aynard  Collection;  in  a dresser  from  the  Chabricre  Arles  Collection. 
( Giraud : Exposition  retrospective  de  Lyon,  1877,  pi.  19,  32),  etc. 


( Illustrated ) 


o(  cv^H$>;’ 


205 — Walnut  Cabinet.  Florentine.  XVI  Century 

Rectangular  shape.  Oblong  molded  cornice  top,  with  carved  frieze.  The 
front  is  divided  into  three  panels,  in  the  middle  of  each  a bronze  lion’s 
head,  and  has  a fluted  and  astragalled  Ionic  pilaster  on  each  end.  The 
base  is  heavily  molded ; the  sides  are  paneled  and  Hanked  by  pilasters, 
corresponding  to  those  in  front.  The  whole  rests  on  four  lion’s  paw  feet. 
Very  rare  shape. 

Height . 3 feet  0 C inches ; length , 5 feet  9 l/o  inches;  depth,  2 feet 
I inches. 


( Illustrated ) 


No.  205  Walnut  Cabinet.  Florentine.  XVI  Century 


206 — Two  Stools  in  Walnut.  Florentine.  XVI  Century 

Of  Sgabello  form.  The  supports  are  carved  in  a design  of  bold  scroll- 
ings enclosing  a carved  mask.  Lion’s  paw  feet.  Molded  seat. 

Height,  1914  inches. 

( Illustrated ) 


207 —  High  Pedestal  in  Gilded  Wood.  Italian.  XVII  Century 

Of  Sgabello  form.  The  two  side  pieces  support  square  molded  tops,  are 
carved  with  bold  volutes  enclosing  pendants  of  husk  design  below  which 
are  oval  medallions  and  grotesque  masks,  and  are  supported  on  lion’s 
paw  feet.  Entirely  gilt  on  brown  background. 

Height,  4 feet  2 inches. 

( Illustrated ) 

207 a — High  Pedestal  in  Gilded  Wood.  Italian.  XVII  Cen- 
tury 

Same  as  preceding. 

(Illustrated) 

208 —  Two  Armchairs.  Venetian.  XVII  Century 

Square  back,  wooden  frame  consisting  of  inlaid  panels  decorated  with 
circles  and  rosettes  in  gilt ; the  center  of  back  is  cane.  The  seat  is  cane 
surrounded  by  a similarly  treated  wooden  frame.  Beneath  is  an  apron 
piece  with  the  same  decorations.  The  arms  are  slightly  bent.  The  legs 
are  molded  at  the  top  and  taper  toward  the  bottom.  Antique  red  damask 
cushions. 


209 — High  Pedestal  in  Gilded  Wood.  Italian.  XVII  Century 

Of  Sgabello  form.  The  two  side  supports,  which  terminate  in  a square 
molded  top,  are  carved  with  hold  volutes  at  the  sides  enclosing  pendants 
of  husk  design,  are  further  decorated  with  cherubim  heads,  rosettes  and 
shells,  and  rest  on  lion’s  paw  feet.  The  entire  design  is  gilt  with  a black 
background. 


Height,  4 feet. 


210 — Savonarola  Chair  in  Beechwood.  Italian.  XVII  Cen- 
tury 

Curved  sides  and  base,  formed  of  eight  interlacing  square  supports, 
pivoted  at  their  intersections  so  as  to  form  a folding  chair  with  square 
seat.  Shaped  back-rail,  with  incised  monogram,  front  with  incised  deco- 
ration, straight  arms  with  ball  and  molded  ends  and  straight  base-rails. 


211 — Savonarola  Chair  in  Beechwood.  Italian.  XVII  Cen- 
tury 

Curved  sides  and  base,  formed  of  seven  interlacing  square  supports, 
pivoted  at  their  intersections  so  as  to  form  a folding  chair  with  square 
seat.  Shaped  back-rail,  with  incised  monogram,  front  with  incised  deco- 
ration, straight  arms  with  molded  ends  and  straight  base-rails. 


212 — Two  Armchairs  in  Walnut.  Italian.  XVII  Century 

High  square  bark,  with  carved  and  gilded  acanthus-leaf  finials.  Straight 
molded  arms  on  square  supports,  square  legs  and  square  side-rails.  Cov- 
ered with  old  leather  secured  with  large  brass-headed  nails. 


MAJOLICAS  OF  THE  XV  AND  XVI 

CENTURIES 


A large  part  of  the  majolicas  described  hereafter  are  from  the 
collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily,  and  other 
famous  collectors.  They  represent  the  first  period  of  Italian  ma- 
jolicas— that  epoch  when  the  artists  went  to  Spain  to  learn  the  art 
of  majolica  working,  and  returning  to  Italy,  executed  specimens 
in  Spanish-Moorish  style,  adding  portraits,  figures  and  style  details 
absolutely  Italian.  Some  of  the  pieces  have  been  signed  on  the  back 
with  the  date,  the  name  of  the  fabric  or  the  artist’s  name. 


213 — Bowl  in  Majolica.  Central  Italy.  Beginning  of  XV 
Century 

I)i  the  center,  a Siren  crowned,  and  holding  two  lilies  in  her  hands.  On 
her  breast  and  on  her  limbs  are  seen  three  coats-of-arms  granted  to 
the  majolica  workers  by  the  civic  authorities.  The  color  scheme  is 
extremely  quiet,  because  the  effect  is  obtained  solely  by  the  use  of 
manganese  and  a very  little  copper-green.  Only  specimen  of  its  kind; 
obtained  in  the  excavations  of  the  wells  of  Orvieto. 

Diameter,  10%  inches. 


214 — Bowl  in  Majolica.  Milanese.  Beginning  of  XV  Century 

Majolica  bowl  with  four  handles,  decorated  in  the  center  by  a tree  with 
a coat-of-arms.  Belonging  to  the  notable  number  of  rare  majolicas  of 
the  Sforza  family. 

Diameter,  10  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 


215 — Vase  in  Majolica.  Florentine.  XV  Century 

In  the  form  of  a small  column  with  two  coats-of-arms  of  the  Medici 
family. 


Height,  8%  inches. 


216 — Large  Bowl  of  Majolica.  Central  Italy.  Beginning  or 
XV  Century 

The  decoration,  obtained  by  employing  copper-green  and  manganese, 
represents  a Queen  giving  unicorns  a drink.  Very  rare  example;  speci- 
men of  the  first  products  of  the  ceramic  art  in  Italy  ; brought  to  light 
in  the  excavating  of  the  wells  of  Orvieto. 

Diameter,  12%  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 


217 — Plaque  in  Majolica.  Mantuan.  XV  Century 

Plaque  in  majolica,  with  decoration  cut  in  with  a stick  and  in  bas- 
relief,  representing  the  Virgin  with  the  Child  Jesus  and  a cherub’s 
head. 

Height,  16  inches;  width,  1()14  inches. 
From  the  collection  of  Miss  Walters  Cacciola  of  Taormina , Sicily. 


18 — Tile.  Okyieto.  Early  XV  Century 

Representing  a falcon. 


Square,  9 inches. 


19— Tile.  Orvieto.  Early  XV  Century 

With  a coat-of-arms  among  branches. 


Square,  9 inches. 


20 — Plate  in  Majolica.  Mantuan.  XV  Century 

Majolica  plate,  with  decoration  in  relief  of  yellow  on  a manganese 
ground.  In  the  center,  coat-of-arms  of  a Mantuan  family.  This  very 
rare  specimen  was  made  in  the  factories  of  the  Dukes  of  Mantua. 

Diameter,  9j4  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 


21 — Water  Jar  in  Majolica.  Pavia.  XV  Century 

Water  jar  of  majolica,  with  portrait  of  noble  lady,  work  cut  in  with 
stick. 

Height,  8 inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 


22 — Plate  in  Majolica.  Florentine.  Beginning  of  XV  Cen- 
tury 

Majolica  plate,  decorated  in  the  center  with  a griffon  and  diversified 
ornamental  motifs.  The  style  still  showing  the  influence  of  Oriental  art, 
and  the  technique  in  the  decoration,  in  relief,  blue  on  a white  background, 
carries  back  this  unique,  magnificent  exemplar  of  the  beginning  of  the 
art  of  majolica-making  in  Florence  to  the  early  years  of  the  fifteenth 
century. 


Diameter , lOj/}  inches. 


223 — Vase  in  Majolica.  Caitaggiolo.  X V Century 

Cylindrical  shape,  with  incurved  sides  and  annular  rim.  Decorated, 
on  a white  ground,  in  blue  and  green  with  touches  of  manganese,  with 
two  bands  of  pointed-leaf  scrolls  between  borders  of  lines. 

Height,  7y§  inches. 


224 — Holy  Water  Font  in  Majolica.  Faenza.  XV  Century 

The  vessel  intended  to  contain  the  consecrated  water  leans  on  a bracket 
supported  by  an  eagle.  Above,  in  two  heart-shaped  shields,  are  seen  the 
coat-of-arms  of  the  family  of  that  Avogadro  who  was  court  poet  to 
Cosimo  de’  Medici,  the  elder.  In  the  middle  is  a bas-relief  done  with  a 
stick,  representing  the  Virgin  and  the  Child.  Unique  specimen  of  great 
decorative  beauty  in  the  lines,  in  the  choice  of  ornamental  motifs,  and 
in  the  color  scheme  carried  out  in  a harmonious  blending  of  green  and 
blue. 


Height,  2 feet  1 inch. 


225 — Large  Vase  in  Majolica.  Florentine.  XV  Century 

White  vase,  with  decorations  in  blue  and  manganese.  The  type  of  the 
majolica,  the  technique  and  the  decorative  motifs  show  that  this  vase 
is  one  of  the  first  specimens  made  by  the  Florentine  artists  of  the 
fifteenth  century. 

Height,  9%  inches. 


226 — Plate  in  Majolica.  Florentine.  XV  Century 

In  the  middle,  kneeling  on  a raft  that  is  rocked  gently  on  the  sea  where 
a fish  appears  in  transparency,  is  the  portrait  in  caricature  of  the 
famous  maker  of  medallions,  Sperandio,  indicated  humorously  by  the 
inscription:  SPERO-INDIO.  Bordering  it  is  a simple  decoration  in 
Spanish-Moorish  style  which  attests  the  great  antiquity  of  this  very 
rare  specimen,  obtained  from  the  collection  of  Prince  Baucina  of 
Palermo,  Sicily. 


Diameter,  9V  inches. 


227 — Pharmacy  Vase:  Caffaggiolo.  X V Century 

Incurved  cylindrical  shape  with  two  looped  and  twisted  handles.  Deco- 
rated with  the  name  of  the  drug,  scrollings  and  zigzag  in  blue  and  yel- 
low on  white  ground. 

Height , 8%  inches. 


228 — Vase  in  Majolica.  Faenza.  XV  Century 

Vase  in  majolica,  form  of  small  column,  with  representations  of  a dog 
and  a snail.  Below  runs  a brief  inscription,  whose  import  is  unde- 
cipherable. Beautiful  specimen  from  the  factory  C'asa  Pirota. 

Height , 7%  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina , Sicily. 


229 — Sculpture  in  Enameled  and  Polychromed  Majolica. 
Faenza.  XV  Century 

Majolica,  with  great  predominance  of  manganese  and  copper  green, 
representing  the  “Flight  into  Egypt.”  Very  rare  specimen. 

Height , 18  inches ; width,  13  inches. 

From  the  collection  of  Miss  I Valters  Cacciola  of  Taormina.  Sicily. 


230 — Vase  in  Majolica.  Faenza.  XV  Century 

Vase  in  majolica,  with  decoration  of  peacock’s  feathers  on  a yellow 
background.  In  the  center  may  be  read  the  following  inscription:  IERA 
EX  INVENTIONE.  Very  rare  specimen. 

Height,  7'l/o  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 


231 — Plate  in  Majolica.  Florentine.  XV  Century 

In  the  center  the  scene  of  the  “Judgment  of  Paris”  is  represented,  with 
the  ancient  city  of  Florence  in  the  background.  Unique  specimen  of 
great  artistic  importance  and  historical  as  an  authority  on  Florentine 
topography. 

Diameter,  lQl/j.  inches. 

From  the  Castellani  Collection  of  Nome. 


232 — Plate  in  Majolica.  Florentine.  XV  Century 

Majolica  plate,  decorated  with  a tree  and  the  coat-of-arms  of  Pietro 
Soderini,  last  Supreme  Magistrate  (Gonfaloniere)  of  the  Florentine 
Republic. 

Diameter,  13  inches. 

From  the  Molinier  Collection,  Paris. 


233 — Decanter  in  Majolica.  Florentine.  XV  Century 

Majolica  decanter,  three-lobed,  with  the  coat-of-arms  of  the  Panciatici 
family  of  Pistoia.  Done  in  blue,  yellow,  green  and  manganese.  Under 
the  handle  is  the  mark  of  Faenza. 

Height,  7j/o  inches. 


234 — Plaque  in  Majolica.  Faenza.  XV  Century 

In  relief,  representing  the  apparition  of  Christ  to  St.  Francis;  red  re- 
lief, white  ground,  yellow  frame. 

Height,  19  inches;  width,  13  inches. 


235 — Vase  in  Majolica.  Florentine.  XV  Century 

M ajolica  vase,  three-lobed,  decorated  with  a scene  of  hunting  the  wild 
boar,  recalling  perhaps  the  myth  of  Meleager. 

Height,  9 '/^  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 


236 — Plate  in  Majolica.  Faenza.  X V Century 

Plate  of  majolica,  decorated  in  the  center  by  the  figure  of  an  ass,  with 
the  inscription:  LASSAME  CHEL  FARO.  Border  of  leaves  and  dif- 
ferent ornamental  motives. 

Diameter,  13l/o  inches. 

From  the  Molinier  Collection,  Paris. 


237- — Vase  in  Majolica.  Faenza.  XV  Century 

In  the  form  of  a jug,  decorated  in  the  center  with  a medallion  having  a 
leonine  head. 

Height,  7 inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 


238 — Vase  in  Majolica.  Florentine.  XV  Century 

In  the  form  of  a small  column  with  twisted  rope-like  handles.  In  the 
center  the  eoat-of-arms  of  the  Chigi  family.  Very  rare  specimen. 

Height,  9 inches. 


239 — Vase  in  Majolica.  Faenza.  XV  Century 

Spherical  form,  with  four  handles ; all  of  the  body  decorated  in  blue  on 
a white  ground  with  flowers  and  foliage.  Very  rare  specimen. 

Height,  W/o  inches. 


240 — Dish  for  Holding  Eggs  in  Majolica.  Faenza:  Italy.  XV 
Century 

Very  rare  form  in  the  shape  of  an  escutcheon.  The  top  and  bottom  in 
a beautiful  design  of  blue  on  white  ground,  all  lustered. 

Length,  8 inches;  width,  6^4  inches;  height,  3 inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 


241 — Plate  in  Majolica.  Urbino.  By  Andreioli  Salimbene. 
XV  Century 

Lustered  plate  decorated  with  scene  of  Parnassus.  On  the  back  is  the 
signature  of  the  artist:  A.  S.  [Andreioli  Salimbene].  Very  rare  speci- 
men. 

Diameter , 1 01/.  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina , Sicily . 


Back  of  Plate 


242 — Plate  in  Majolica.  Urbino.  By  Maestro  Giorgio.  XVI 
Century 


Lustered  plate  decorated  with  a scene  of 
inscription  with  the  signature  of  the  artist : 

4 de  Otobre 
1523 

IM.  Giorgio 
da  Ugubio. 

Very  rare  specimen. 


war.  On  the  back  is  an 


Diameter , 1 1 l/i  inches. 


Back  or  Pi. ate 


243 — Vase  in  Majolica.  Faenza.  Early  XVI  Century 

This  very  rare  vase  comes  from  the  famous  “Casa  Pirota”  and  is  most 
artistically  decorated  in  the  style  of  the  celebrated  master,  Valerio  Belli. 
The  entire  surface  is  ornamented  with  scrolls,  masks,  cornucopias,  human 
figures  and  bands  of  ornament.  Its  dark  blue  coloring  is  greatly  en- 
hanced by  the  design  of  the  coat-of-arms  of  the  Colombini  family  for 
whom  it  was  made.  The  two  side  handles  add  character  to  its  artistic 
shape.  Very  rare  specimen. 

Height,  14  inches. 

From  the  collection  of  Prince  Baucina,  of  Palermo,  Sicily. 


( Illustrated  in  Color) 


No.  243 — Vase  in  Majolica.  Faenza.  Early  XVI  Century 


244 — Plaque  in  Majolica.  Faenza  (Casa  Pirota,  1.529) 

Majolica  plaque  representing  the  “Arrival  of  the  Magi.”  To  the  right, 
in  front  of  the  grotto,  the  Virgin  is  seated  with  the  Child,  and  St. 
Joseph  is  standing  with  an  expression  of  wonder  and  reverence  on  his 
face;  in  the  background  are  the  shepherds.  To  the  other  side  is  the 
landscape  and  the  star  is  shown  that  guided  the  Magi  on  their  journey 
to  Bethlehem.  The  artist  has  treated  this  so-oft-repeated  subject  in 
a manner  all  his  own,  which  brings  back  to  our  mind  the  pictures  of 
primitive  Italian  art.  On  the  back  of  the  plaque,  within  a coat-of-arms, 
is  the  inscription:  “IN  DEO  SEMPER”;  below  J.  S.  MDXXYIIII  N. 
PISAVRI. 

The  work  is  done  in  very  beautiful  colors,  light  blue  predominating;  characteristic 
of  the  Casa  Pirota. 

Height , 8l/o  inches ; width,  4^4  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina,  Sicily. 

These  plaques  are  very  rare;  another  such  is  in  the  Carrand  Collection 
in  the  Bargello  Museum. 


245 — Plate  in  Majolica.  Casa  Pikota:  Italian  (1537) 

Round  plate,  with  blue  and  yellow  decorations.  The  scene  represents 
one  of  the  reception  rooms  of  the  Vatican.  In  the  center  is  seen  Pope 
Pan  1 III  (Fa  rnese)  sitting  on  a throne,  with  the  Papal  tiara,  surrounded 
by  cardinals,  artists  and  others  of  his  court.  Many  of  the  personages 
standing  seem  to  represent  artists  of  the  period,  notably  the  second  one 
on  the  right,  who  has  much  resemblance  to  the  portraits  of  Michael 
Angelo,  who  received  from  Pope  Paul  III  the  charge  to  build  St.  Peter’s. 
The  Pope  is  represented  in  the  act  of  crowning  his  son  Pietro  Luigi, 
who  subsequently  became  Duke  of  Parma. 

Diameter , 8l/o  inches. 

This  unique  and  historical  plate  is  also  interesting  on  account  of  the  portraits 
and  the  mark  of  the  fabric  on  the  back.  In  a very  fine  state  of  preservation. 

( Illustrated  in  Color) 


Maiik  on  Back  of  Pi.ate 


No.  245-  Plate  in  Majolica.  Casa  Pirota:  Italian  (1537) 


246 — Plate  in  Majolica.  Pesaro.  By  Fra  Giron j mo.  XV I Cen- 
tury 

Plate  decorated  with  scene  of  war  between  the  Israelites  and  Philistines 
near  Bethulia.  On  the  border  of  the  plate  is  seen  Judith  cutting  off 
the  head  of  Holofernes.  On  the  back  is  an  inscription  with  the 
signature  of  the  artist:  “Come  Juditha  ammazo  Oloferne  fate  in  Pesaro 
in  mia  bottega.  1542.  Fra  Gironimo”  (How  Judith  killed  Holofernes 
made  in  Pesaro  in  my  workshop.  1542.  Fra  Gironimo).  Very  rare 
specimen ; beautiful  coloring. 

Diameter , 1 414  inches. 

From  the  collection  of  Miss  Walters  Cacciola  of  Taormina , Sicily. 


247 — Large  Plate  in  Majolica.  Fratta.  XVI  Century 

In  the  center  is  represented  the  Crucifixion  with  two  Saints,  surrounded 
by  an  inscription  and  medallions  in  which  are  the  busts  of  sixteen 
saints.  Decorated  in  green  and  yellow.  Probably  inspired  by  a By- 
zantine plate. 

Diameter,  15  inches. 


248 — Plate  in  Majolica.  Florentine.  XVI  Century 

In  the  middle,  on  a beautiful  dark  blue  background  in  white  and  blue, 
a decoration  representing  the  Ascension.  A large  blue  border  with 
masks,  cherubs  and  scrolls. 

Diameter,  10  inches. 


249 — Large  Vase  in  Majolica.  Italian.  XVI  Century 

The  body  is  ornamented  with  musical  instruments,  shields,  armor,  etc., 
in  white  on  a blue  ground.  In  front  a beccuccio , beneath  which  is  a circle 
with  masks  and  other  motifs. 

Height,  18  inches. 


2.50 — Vase  in  Majolica.  Hisfano-Moresque.  XVI  Century 

Spherical  form;  gold  drawing  on  blue  ground.  Metallic  iridescence. 

Height,  6 Vi  inches. 


251 — Vase  in  Majolica.  Hispano-Moresque.  XVI  Century 

Similar  to  preceding. 


252 — Medici  Porcelain  Plate.  Florentine.  About  1580-1600 

Round  plate,  white  ground,  blue  decoration  of  flowers,  foliage,  two 
hunters,  representations  of  sun  and  moon.  On  the  back  six  sprays  of 
flowers  in  blue  and  the  mark  of  the  fabric  (the  Dome  of  Florence  and 
the  letter  “F”),  the  signification  of  which  is  interpreted  in  two  ways. 
Some  think  that  it  refers  to  the  Grand  Duke  Francis  I:  others  that  it 
refers  to  Florence,  where  Francis  I established  the  first  known  fabric 
of  European  porcelain.  In  a very  good  state  of  preservation. 

The  Medici  porcelain,  so  called,  because  some  of  the  specimens  have  the  Medici 
arms  painted  upon  them,  is  now  very  scarce,  not  more  than  about  thirty-six  pieces 
being  known.  They  are  scattered  in  museums  and  private  collections  such  as:  The 
South  Kensington  Museum,  the  Sevres  Museum,  the  M.  C.  Drury  E.  Fortnum  Collec- 
tion, the  Alessandro  Castellani  Collection,  the  Collection  of  the  King  of  Portugal, 
the  Baron  Davillier  Collection,  the  former  Spit/.er  Collection,  the  Baron  Gustave  de 
Rothschild  Collection,  etc. 

From  the  Funchini  Collection  of  Arezzo. 

( Illustrated) 


Back  of  Plate 


No.  252— Medici  Porcelain  Plate.  Florentine.  About  1580-1(500 


253 — Plate  in  Majolica.  Fkatta.  End  of  XVI  Century 

Representing  a theatrical  scene  with  the  public  looking  on. 

Diameter , 14-  inches. 


254 — Large  Plate  in  Majolica.  Castelli.  XVI  Century 

Representing  a musical  concert.  Border  with  flowers  and  putti. 

Diameter,  1(5  inches. 


255 —  Vase  in  Majolica:  A Bf.ccuccio.  Italian.  XVI  Century 

With  two  handles;  on  the  front  the  coat-of-arms  of  the  Piccolomini  fam- 
ily. The  body  is  decorated  with  yellow  ornaments  and  figures  on  a 
blue  background. 

Height,  16^4  inches. 

256 —  Plate  in  Majolica.  Urbino.  XVI  Century 

On  a white  ground,  decorated  in  yellow  and  brown  in  Raphaclesque  man- 
ner; in  the  center  two  coats-of-arms ; on  the  top  two  sirens  holding  a 
medallion  with  bust  of  Eros.  Probably  made  for  the  marriage  of  the 
two  families  represented  by  the  coats-of-arms. 

Diameter,  8%  inches. 


257 —  Plate  in  Majolica.  Urbino.  XVI  Century 

Representing  the  portrait  of  a lady  in  yellow  on  a dark  blue  ground, 
with  a ribbon  about  the  shoulders  bearing  the  inscription  ‘‘Gentile  Bella.” 
This  kind  of  a plate  was  often  made  as  a gift  to  ladies. 

Diameter,  7%  inches. 

258 —  Group  of  Enameled  and  Polychromed  Terra-cotta.  Ur- 

bino. XVI  Century 

Representing  the  Adoration  of  Christ  in  a grotto;  on  each  side  two 
angels  playing  music;  on  the  top  a group  of  three  angels.  Beautiful 
coloring.  Very  rare  specimen. 


Height,  It)  inches. 


BRONZE  PLAQUETTES  OF  THE  XIV, 
XV  AND  XVI  CENTURIES 


259 —  Bas-relief  in  Bronze.  Italian.  Michelozzo  Michelozzi 

(1396-1470) 

Molded  in  the  form  of  a Tabernaeolo  frame  with  crocheted  Gothic  arched 
top  and  “poppy”  finial,  paneled  pilasters  and  molded  base.  Occupied 
by  a three-quarter-length  figure,  modeled  in  low  relief,  of  the  Virgin 
supporting  the  Child  on  her  left  arm.  Above  are  two  flying  angels 
holding  a crown  over  her  head. 

[{eight,  7 inches;  width,  4 inches. 

From  the  Bar  dim  Collection . 

Other  examples  are  in  the  Louvre  and  Berlin  Museum*.  Illustrated, 
Berlin  Catalogue,  pi.  XLII. 

260 —  Bas-relief  in  Bronze.  Pisan.  XV  Century 

Shaped  as  a t refoiled  and  pointed-arched  panel  flanked  by  two  Gothic 
buttresses,  surmounted  by  a pointed  crocheted  gable  and  pierced  and 
modeled,  in  low  relief,  with  a figure  of  Christ  on  the  cross  with  the 
Virgin  and  St.  John  on  either  side. 

Height,  3 V,  inches;  width,  2 inches. 

From  the  Bardini  Collection. 

Another  very  similar  example  in  the  Berlin  Museum.  Illustrated,  Cata- 
logue, pi.  XXXV IF 


201 — Plaquette  in  Bronze.  North  Italian.  X V Century 

Rectangular  shape,  with  molded  frame.  Modeled,  in  low  relief,  with  a 
“Deposition  in  the  Tomb.”  The  disciples  and  Holy  Women  laying  the 
body  of  Christ  in  the  tomb.  In  the  distance  is  Golgotha,  crowned  with 
crosses.  Completely  gilded. 

Height , -U/i  inches;  width,  b 1/j  inches. 

From  the  Bardini  Collection . 


262 — Plaquette  in  Bronze.  North  Italian.  I l Moderno.  XV 
and  XVI  Centuries 

Rectangular  shape,  with  molded  frame.  Modeled,  in  low  relief,  with  a 
subject  of  a “Pieta.”  The  upright,  undraped  body  of  Christ  shown 
to  the  waist  and  supported  by  Mary  Magdalene  and  St.  John.  Flanked 
by  two  candelabra  supporting,  bv  a festoon  tied  with  scrolled  ribbons, 
a tablet  with  the  Sacred  Monogram.  Below,  the  sculptured  front  of  the 
tomb  forms  a dado. 

Height,  3^4  inches;  width,  21/p  inches. 

From  the  Bardini  Collection . 

Another  example  is  in  the  Berlin  Museum.  Illustrated.  Catalogue, 
Pl.  L. 


263 — Plaquette  in  Bronze.  North  Italian.  School  oe  Mo- 
derno. XVI  C ENTURY 

Rectangular  shape,  with  raised  frame.  Modeled,  in  low  relief,  with  a 
subject,  “A  Roman  Triumph.”  Armed  men,  some  bearing  trophies, 
while  others  on  horseback  are  issuing  from  the  gate  of  a city. 

Height,  2 inches;  width,  3 inches. 

From  the  Bardini  Collection . 

Other  examples  are  in  the  Louvre  and  Berlin  Museums.  Illustrated. 
Berlin  Catalogue,  pl.  LIV. 


204 — Bronze  Plaquette.  Paduan.  XV  Century 

By  a Paduan  master  influenced  by  Mantegna.  Rectangular  shape,  with 
round-arched  top.  Modeled,  in  low  relief,  with  a figure  of  the  Virgin 
looking  to  the  left  and  holding  on  her  la])  the  undraped  Child  Christ, 
surrounded  by  cherubim.  Mounted  as  a Pax  in  a Tabernacolo  frame, 
with  pointed  pediment  surmounted  by  a figure  of  the  Deity  holding  an 
orb  and  flanked  by  figures  of  St.  Gabriel  and  the  Virgin.  Frieze  in- 
cised with  an  Ave  Maria  inscription  and  supported  by  two  cylindrical 
Doric  pilasters.  Broken  base  and  plinth  incised  with  Latin  inscription. 
At  the  sides  are  panels  of  niello  work.  Partially  gilded. 

Height , 6 inches. 

From  the  Bar  dim  Collection. 


( Illustrated ) 


No.  264 — Bronze  Plaquette.  Paduan.  XV  Century 


265 — Plaquette  ix  Bronze.  Paduan.  XV  Century 

Rectangular  shape,  with  molded  frame  and  scrolled  cresting  with  ring 
for  suspension.  Modeled,  in  low  relief,  with  a full-length  figure  of  the 
\ irgin  surrounded  by  Angels.  Holding  the  Child  Christ  in  her  arms, 
she  stands  on  a terrace  with  an  ornamented  balustrade.  Behind  her 
is  an  architectural  niche,  while  two  of  the  angels,  standing  on  columns, 
hold  a double  floral  festoon  above  her  head.  By  a Paduan  influenced  by 
Mantegna. 

Height,  5 V inches;  width,  S^/o  inches. 

From  the  Bardini  Collection . 

Other  examples  arc  in  the  Louvre,  Victoria  and  Albert,  and  Berlin 
Museums.  Illustrated,  Berlin  Catalogue,  pi.  XLVI. 


266 — Plaquette in  Bronze.  Italian.  Il  Sansovino  (1486-1570) 

Rectangular  shape,  with  molded  frame.  Modeled,  in  low  relief,  with  a 
\ irgin  seated  under  a canopy  on  a throne  seat,  with  a vase  of  lilies 
beside  her,  a closed  book  m her  right  hand  and  with  her  left  holding  on 
her  lap  the  Child  Christ.  Standing  at  her  side  and  looking  upward  is 
the  infant  St.  John  the  Baptist. 

Height , 6 h)  inches;  width,  4'k  inches. 

From  the  Bardini  Collection . 

Other  examples  are  in  the  Louvre  and  Berlin  M useums.  Illustrated.  Ber- 
lin Catalogue,  pi.  LA  All . 


207 — Plaquette  in  Bronze.  Paduan.  Andrea  del  Briosco — 
called  II  Biccio  (1470-1532) 

Rectangular  shape,  with  raised  frame.  Modeled,  in  low  relief,  with  a 
figure  of  St.  Roch  standing  in  a landscape,  with  buildings  and  figures  in 
the  distance.  He  holds  a Pilgrim’s  staff  and  hat  in  his  left  hand,  and 
with  the  right  he  points  to  the  plague  spot  on  his  thigh. 

Height,  3 inches ; width,  21/4  inches 

From  the  Bardini  Collection . 

Molinier  gives  this  plaque  unhesitatingly  to  Vlocrino,  whom  he  identifies 
with  Biccio.  Other  examples  are  in  the  Louvre  and  Berlin  Museums. 
Illustrated.  Berlin  Catalogue,  pi.  LXI. 


268 — Plaquette  in  Bronze.  North  Italian.  Il  Moderno.  XV- 
XVI  Centuries 

Rectangular  shape.  Modeled,  in  low  relief,  with  a round-arched  niche,  in 
which  is  seated  the  Virgin  holding  on  her  lap  the  Christ  Child,  with  boy 
angels  on  either  side  and  a decorated  pedestal  below. 

Height,  3 inches;  width,  2 V(  inches. 

From  the  Bardini  Collection. 

Another  example  is  in  the  Loirere  Museum.  Illustrated,  Xo.  185,  in 
Molinier' s “ Fla q nett es." 


269 — Plaquette  in  Bronze.  Florentine.  X V Century 

Modeled,  in  low  relief  and  without  background,  with  the  seated  figure  of 
the  Virgin  with  her  right  hand  upraised.  She  supports  on  her  lap  the 
Child  Christ,  who  holds  in  His  hand  some  fruit  He  lias  taken  from  a 
dish  presented  to  Him  by  an  infant  St.  John  the  Baptist. 

Height , f inches. 

From  the  Bor  dim  Collection. 


270— Plaquette  in  Bronze.  North  Italian.  Il  Moderno.  XV- 
XVI  Centuries 

Rectangular  shape,  with  raised  frame.  Modeled,  in  low  relief,  with  an 
elaborate  architectural  niche,  occupied  by  a seated  figure  of  the  Virgin 
holding  the  Child  Christ.  Above  are  flying  angels  and  festoons  and 
below  is  a sculptured  sarcophagus  flanked  by  nude  figures. 

Height , 23,4  inches;  width , 2V|  inches. 

From  the  Bardini  Collection . 

Other  examples  are  in  the  Louvre  and  Berlin  Museums.  Illustrated.  Ber- 
lin Catalogue,  pi.  L. 


SCULPTURE  IN  BRONZE  OF  THE 
XIII,  XV  AND  XVI  CENTURIES 


271 — Candlestick  in  Bronze.  Franco-Fleminh.  Early  XIII 
Century 

Mounted  on  a lion  is  a young  cavalier  dressed  in  a long  gown  trimmed 
with  a border  and  opened  in  front.  He  is  bent  forward  and  with  both 
hands  is  opening  the  jaws  of  the  animal  whose  head  is  turned  toward 
him.  On  his  shoulders  rests  a candlestick  with  an  incised  design.  The 
tail  and  the  candlestick  are  new. 

Height , 8l/o  inches. 

From  the  Bcirdac  Collection. 


There  is  on  almost  identical  candlestick  in  the  M a see  “des  Antiquites  de 
la  Seine  inf  erica  re ” which  figured  in  Paris  at  the  “ Exposition  retro- 
spective dc  Part  fraiyais " in  1900  under  the  number  413.  There 
arc  also  two  candlesticks  coming  from  the  Spitzer  Collection  and 
reproduced  in  Girand : “ Les  Arts  du  metal  it  /’ exposition  de  V Union 
centra!  des  Beaux  Arts  1880,”  pi.  14,  Nos.  (5  and  8,  which  show 
many  analogies  with  this  candlestick.  In  the  Albert  Oppenheim 
Collection  reproduced  in  catalogue , pi.  (5(5,  and  in  the  Martin  le 
Boy  Collection  in  its  catalogue , Vol.  Ill,  pi.  No.  are  also  shown 
si jnilar  candlesticks. 


In  a copy  in  bronze,  published  by  Dr.  \V.  Bode,  in  bis  work  on  Italian  bronzes, 
it  is  classified  as  a work  by  Antico.  This  group  being  a casting  in  lead,  certainly 
represents  the  first  idea  that  the  artist,  representing  Charity  with  the  child,  wished 
to  convey,  while  in  the  copies  in  bronze,  the  detail  of  the  child  is  omitted. 


Height,  8 inches. 


272 — Grout  in  Lead.  Paduan.  XV  Century 

Group  representing  Charity — a woman  seated,  with  the  head  covered 
by  a veil;  near  her  a child  standing,  with  folded  hands.  Only  specimen. 
On  a red  marble  base. 


27.‘{ — Bust  in  Bronze.  Florentine.  XV  Century 

Portrait  bust  of  Alfonso  I d’Este,  third  Duke  of  Ferrara.  Of  sueli 
expression  and  character  as  to  warrant  attributing’  it  to  one  of  the 
greatest  Florentine  artists  of  the  end  of  the  fifteenth  century.  On  red 
marble  base. 


Height , 1 4 14  inches. 


ANTONIO  AYER  UNO  ( ?)— called  IL  FIEARETE 
1110—1470 

Sculptor  of  the  famous  bronze  doors  of  St.  Peter's  in  Rome 

274 — Bas-relief  in  Bronze.  Italian 

Bas-relief  representing  Baptistina  de  Campofervoso,  wife  of  Jacob  III, 
Prince  of  Piombino.  Bust  to  left,  the  hair  waved  over  a velvet  ribbon; 
the  face  is  young  and  smiling.  Under  the  neck,  the  inscription: 
BAPTISTINA.  DE.  CAMPO.  FERYOSO 
IACOBI.  III.  PLUMBINI 
DNI.  YXOR. 

It  is  the  only  portrait  known  of  the  Genoese  “Belle.”  Frame  in  carved 
and  gilded  wood. 

Baptistina  de  Campofervoso  or  Campofregoso  was  the  daughter  of  Janus  of 
Campofregoso,  Duke  of  Genoa  in  1447.  Jacob  III  took  the  title  of  Prince  in  1457 
and  died  the  22d  of  March,  1474. 


Height , 2 feet  3 inches;  width,  1 foot  7 inches. 


ANDREA  DI  MICHELE  CIONE  DEL  VERROCCHIO 


Born  in  Florence  1435;  died  in  Venice  1488.  Active  in 
Florence,  Rome,  Venice. 

— Bronze  Putto.  Italian 

Standing  with  one  foot  on  a hemisphere,  the  body  of  the  boy  is  leaning 
forward  with  an  unusual  lightness  and  balance.  His  right  arm  is  raised 
and  he  was  holding  in  it  originally  a long  trumpet  which  he  was  blowing 
and  which  is  indicated  by  the  puffing  of  the  checks.  The  model  for 
this  statuette,  of  such  unusual  interest  and  beauty,  is  in  the  Gustave 
Dreyfus  Collection  in  Paris.  It  is  in  terra-cotta  and  is  acknowledged 
by  all  writers  on  Verrocchio  as  his  authentic  work.  (See  Bode:  “Denk- 
maler,”  p.  142,  pi.  440;  Hans  Mackowskv : “Verrocchio,”  p.  21,  fig.  15; 
Maud  Cruttwell : “Verrocchio,”  p.  70,  pi.  13.)  It  was  probably  in- 
tended for  a fountain,  as  seen  in  another  putto  by  Verrocchio,  the 
famous  boy  of  bronze,  squeezing  a fish,  which  he  made  for  Lorenzo  dei 
Medici  for  his  villa  at  Careggi,  now  in  Palazzo  Vecchio,  and  of  which 
Vasari  and  all  other  writers  speak  with  the  greatest  enthusiasm  and 
appreciation.  Both  putt'i  show  the  same  lightness  and  marvelous  work- 
manship characteristic  of  Verrocchio’s  best  productions.  Vasari,  in 
his  work  on  the  most  famous  artists  of  his  time,  Vol.  Ill,  speaks  of  other 
putti  by  Verrocchio,  not  yet  identified,  and  of  which  one,  made  for  the 
clock  of  Mereato  Nuovo,  had  a movable  arm  and  struck  the  hour  on 
a bell  with  a hammer.  Its  pose  must  have  been  very  similar  to  the  putto 
here  reproduced. 

Height,  2 feet  21/A  inches. 

( Illustrated) 


No.  275 — B liONZK  Putto.  Italian.  X\  C'entery. 
By  Andrea  di  Michele  C'ione  del  Verrocchio 


ALESSANDRO  LEOPARDI 
1480 — 1540 


6 — Bas-relief  in  Bronze.  Italian 


In  the  not  very  crowded  ranks  of  Venetian  sculptors  anterior  to  Vittoria 
(in  Venice  the  plastic  art  does  not  now,  and  did  not  then,  flourish  vigor- 
ously) Alessandro  Leopardi  is  the  one  who,  more  decisively  than  the 
others,  stepped  aside  from  purely  decorative  sculpture  to  meet  and  suc- 
cessfully solve  some  of  the  arduous  problems  of  the  great  art.  This 
bas-relief,  representing  the  left  profile-view  of  a warrior  accoutered  in 
helmet  and  cuirass,  is  the  portrait  of  Capilliata  Colleoni,  as  is  indicated 
clearly  by  the  following  inscription  on  its  base: 

CAPIL.  C OL.  C.  F.  BERG. 


COP.  SSRE.  d.  syp. 
IOH.  BOCACH. 
PRO. 

C I O C C 


FLO 

RIOT 

TEMPOR  IS 
MEMO 
RIA 


SEMP.  VICTOR. 
F.S.P.Q.F.LEG.II. 
P.  L.  M. 

CLXVII 


In  a gilded  wood  frame. 

Capilliata  Colleoni,  son  of  Galeazzo  Carpiglione  and  of  Riccarda  Colleoni,  was, 
as  recorded  in  the  inscription  given  above,  Captain-General  of  the  Roman  church 
under  Urban  Y,  at  whose  obsequies  he  assisted  in  1371.  Ancestor  of  the  widely- 
renowned  military  leader,  Bartolomeo  Colleoni,  who  was  the  inspiration  of  the  most 
beautiful  of  Andrea  Verrocchio’s  statues,  he  was  lord  of  the  stronghold  of  Brivio, 
situated  near  Bergamo,  and  later  conquered  and  destroyed  by  the  Duke  of  Milan. 
The  inscription  to  the  portrait  attests  the  friendship  which  hound  Capilliata  Colleoni 
to  one  of  the  greatest  Italian  writers,  Giovanni  Boccaccio,  the  famous  author  of  the 
“Decameron."  Indeed,  Boccaccio  twice  went  as  Ambassador  from  the  Florentine 
Republic  to  the  court  of  Urban  V,  where  he  certainly  had  opportunity  to  know 
Colleoni. 

When  it  is  recalled  that  Alessandro  Leopardi,  by  order  of  the  family,  executed 
in  1495  the  magnificent  base  of  the  equestrian  statue  of  Bartolomeo  Colleoni  in  Venice, 
it  will  seem  very  probable  that  the  bas-relief  with  the  portrait  of  Capilliata  was 
originally  intended  to  decorate  that  base. 


Height,  2 feet  7 inches ; width,  1 foot  7 inches. 

'There  is  an  analogous  marble  bas-relief  in  Paris,  in  the  Jacqnemart 
Andre  Museum. 


( Illustrated) 


— 


No.  276— B AS-RELIEF  TX  BrONZE.  ItALIAX. 

Bv  Alessandro  Leopardi 


XV  Cent  fry. 


277 — Two  Statuettes  in  Bronze.  Italian.  Style  of  Jacopo 
Sansovino.  End  of  XV  Century 

Two  andirons  in  bronze,  with  dolphin  feet,  surmounted  by  the  figure  of 
Venus  standing  upon  a sphere. 

Height,  1 foot  fil/o  inches. 


278 — Two  Statuettes  of  Horses  in  Bronze.  Paduan.  End  of 
XV  Century 

Two  horses  in  the  act  of  walking,  heads  high,  mouths  open.  Each  has 
a collar  decorated  with  a head  and  some  flowers.  The  high-spirited 
pose  of  the  horses,  the  powerful  modeling,  the  accuracy  in  detail,  justify 
file  attributing  of  these  pieces  to  the  school  that  flourished  in  Padua  at 
the  end  of  the  fifteenth  century,  after  Donatello  had  executed  his  won- 
derful decorations  in  bronze  in  the  church  of  St.  Anthony.  On  green 
marble  bases. 

Each,  10  inches  high. 

270 — Two  Lions  in  Bronze.  Venetian.  X V Century 

They  are  sitting  upright  on  their  hind  legs;  probably  from  a Venetian 
stairway  where  they  held  banners  or  coats-of-arms.  Very  remarkable 
character  of  the  period. 

Height,  15  inches. 

280 — Bust  in  Gilded  Bronze.  Italian.  XV  Century 

Representing  Francesco  Sforza  of  Milan.  The  comparison  with  the 
few  other  busts  of  “II  Filarete”  extant  (see  Antonio  Munz  e Michele 
Lazzaroni,  “II  Filarete,”  Rome,  1910)  and  with  the  small  globes  that 
may  be  seen  in  the  bronze  doors  of  tbe  Basilica  of  St.  Peter’s,  Rome, 
executed  by  Averlino,  justify  attributing  to  him  this  small  bust,  a mem- 
ory of  the  sojourn  which  “II  Filarete”  made  in  Milan  and  of  his  rela- 
tions with  the  Sforza  family,  for  whom  he  made  many  pieces  in  the 
Castle.  On  a wooden  base. 


Height,  7 inches. 


281 — Gilt  Bronze  Frame  with  Plaque  in  Green  Enamel:  Vir- 
gin and  Child.  Venetian.  XV I Century 

The  Virgin  is  seated  wearing  a dress  with  passementerie  around  the 
neck,  wrists  and  waist.  On  her  head  is  a draped  scarf  which  falls 
to  her  shoulders.  A full  mantle  is  draped  on  her  knees.  The  Infant 
naked,  except  for  a scarf,  stands,  giving  the  benediction,  on  the  lap 
of  H is  mother,  who  is  supporting  Him  with  her  hands.  The  frame  is 
in  gilded  bronze  decorated  with  scrolls,  leaf  work,  flowers,  fantastic 
animals,  arrows,  quivers  and  ribbons,  displayed  in  the  most  charming 
fashion  over  the  surface. 

This  charming  little  picture  shows  clearly  the  style  of  Jacopo  Sansovino.  It  is 
in  all  probability  a proof  executed  in  Venice  from  a plaque  by  him. 

Height , 101/j  inches;  width . 9 t/h  inches. 


SCHOOL  OF  GIOVANNI  DA  BOLOGNA 
1524 — 1608 

282 — Group  in  Bronze.  Italian 

Representing  Hercules  overthrowing  the  Nemean  Lion.  The  hero,  en- 
tirely nude,  is  in  the  act  of  striking  the  beast  with  his  club.  The  upper 
part  of  the  body  is  bent  markedly  backward,  the  feet  seem  rooted  in 
the  earth,  all  the  muscles  of  the  huge  body  are  tense  in  the  supreme 
gathering  together  of  his  prodigious  strength  to  give  irresistible  force 
to  the  blow.  The  artist  lias  been  pleased  to  give  proof  of  his  ana- 
tomical knowledge  showing  all  the  minute  details  of  the  admirable  body 
and  seemingly  all  tbe  momentary  developments  of  the  powerful  feat.  On 
a porphyry  base. 

Height,  2 feet  4 inches. 

From  the  Cardinal  cVAltems  Collection,  Home. 


( Illustrated ) 


No.  282 — Group  in  Bronze.  Italian.  XVI  Century. 
School  of  Giovanni  da  Bologna 


•283 — Statuette  in  Broxtze.  Italian.  Elia  Candied.  About 
1570 

Representing  Perseus.  The  mythological  hero,  so  dear  to  the  Italian 
sculptors  of  the  Renaissance,  is  represented  standing,  completely  nude, 
with  the  head  covered  by  a characteristic  helmet.  In  the  right  hand 
he  clasps  tightly  the  hilt  of  a sword,  while  the  left  arm  is  raised.  The 
beautiful  statuette,  with  its  skilful,  forceful  modeling,  is  the  perfect 
counterpart  in  form,  in  technique,  and  in  the  equipoise  of  the  superb 
figure,  with  the  other  statue  of  Eolus,  found  in  the  collection  of  Francis 
I de’  Medici  at  Florence,  and  published  in  the  review,  Les  Arts  (1911, 
No.  110,  p.  7).  On  green  marble  base. 


( Illustrated) 


Height , 1 foot  10 (4  inches. 


2N.‘3 — Statuette  in  Bronze.  Italian.  About  1570. 
Bv  Elia  Candido 


ALESSANDRO  VITTORIA 
1525—1608 


284 — Group  in  Bronze.  Italian 

Representing  Venus  playing  with  Cupid,  the  goddess  entirely  nude,  with 
a bouquet  of  flowers  in  the  right  hand,  and  with  the  little  Cupid  who  is 
mounted  on  a tree  trunk.  On  porphyry  base. 

Together  with  the  other  very  tine  group  in  this  collection  representing  Venus 
in  the  act  of  burning  the  arrows  of  Cupicl,  who,  is  weeping,  this  hronze  belongs  to 
that  series  of  delightfully  pagan  dreams  to  which  Alessandro  Vittoria  was  pleased 
to  give  tangible  reality  in  the  form  of  small  groups  so  much  sought  for  and  so  rare. 
Convincing  comparisons  may  be  made  with  the  two  figures  of  the  ,T.  P.  Morgan 
Collection,  published  by  Bode  in  his  work  on  “Bronze  Statuettes”  (p.  23) — Unpublished 
Model. 


( Illustrated ) 


Height,  22  inches. 


ALESSANDRO  MTTORIA 

1 525 — 1608 


285 — Group  in  Bronze.  Italian 

Representing  Venus  and  Cupid.  The  goddess,  half-draped,  is  burning 
the  arrows  of  Cupid,  who  is  weeping.  On  porphyry  base. 

The  same  may  he  said  of  this  little  group  as  has  been  said  of  the  other  bronze 
representing  Venus  playing  with  Cupid,  even  with  respect  to  the  opportunity  of 
comparing  it  with  the  two  figures  of  the  Morgan  Collection,  published  by  Bode  in 
his  work  on  “Bronze  Statuettes.” — Unpublished  Model. 

Height,  1 foot  9^4  inches. 


( Illustrated) 


No.  ‘284 — Bronze  Group.  Italian.  XVI  Century. 
By  Alessandro  Vittoria 


No.  285-  Bronze  Group.  Italian.  XVI  Cexteky. 
By  Alessandro  Vittoria 


286 — Bronze  Mortar.  Italian.  XVI  Century 

Cylindrical  shape,  with  curved  spreading  sides,  molded  rim,  body  deco- 
rated, in  low  relief,  with  monastic  monogram  (A.  P.  C.  surmounted  by  a 
cross)  and  two  projecting  handles  shaped  as  lions’  heads. 

Height , 14  inches;  diameter , If  inches. 


287 — Group  in  Bronze.  School  of  Michelangelo.  XVI  Cen- 
tury 

Representing  Hercules  with  the  lion  gripped  between  his  knees  and 
in  the  act  of  rending  the  lion’s  mouth.  Vigor  and  strength  are  here 
represented  with  the  masterly  skill  which  the  great  teacher  knew  how  to 
impart  to  his  pupils.  Only  exemplar  of  this  subject. 

Height , 1 foot  2 V inches. 


288 — Bas-relief  in  Bronze.  Italian.  XV I Century 

Representing  the  portrait  bust  of  a lady  with  an  interesting  headdress. 
Velvet  background,  in  a small  wooden  tabernacle. 

Height , inches;  width,  7 inches. 


289 — Statuette  in  Bronze.  Italian.  XVI  Century 

Representing  Hercules  running  with  a club.  On  a C'ipollino  marble 
base. 


Height,  without  base,  121/k  inches. 


290 — Bronze  Ewer.  Florentine.  XVI I Century 

Ovolo-shaped  body,  with  incurved  rim  and  molded  foot,  fixed  scrolled 
and  molded  over-handle  springing  from  satyr  masks,  and  straight  spout 
supported  by  winged  Grecian  sphinx-head  with  shaped  escutcheon  be- 
low. 

Height , 30  inches. 


291 —  Statuette  in  Bronze.  Italian.  XVII  Century 

Representing  Venus,  nude  with  the  right  arm  raised  holding  a fruit.  On 
a marble  base. 

Height , 15  inches. 

292 —  Two  Small  Busts  in  Bronze.  French.  Louis  XVI 

Busts  in  dull  black  finish,  representing  Achilles  and  Ajax.  Bases  in 
small  column  style  in  white  and  yellow  marble. 


Heights,  ITl/fi  and  191/0  inches. 


293 — Two  Gilded  Bronze  Wine  Bottles.  Venetian.  XV I 
Century 

Glass  bottles  covered  with  gilded  bronze  cases  pierced  in  beautiful 
design.  On  each  side  two  lion  masks  holding  a chain.  On  the  cover  a 
put  to.  Glass  in  one  bottle  broken.  Very  rare  specimens. 

Heights,  1 (ifh  tn,,l  18^4  inches. 

From  Taylor  Collection , Loudon. 


GOLDSMITH’S  OBJECTS 


The  goldsmith  objects  that  follow  are  from  the  Spitzer,  the 
Guilhou,  the  Castellani  and  other  famous  collections.  Among  these 
pieces  are  a rock  crystal  cup,  very  probably  executed  by  Benvenuto 
Cellini  himself,  and  an  agate  bowl  and  a rock  crystal  cross  which 
undoubtedly  came  from  his  atelier.  The  gold  enameled  tumbler  is 
an  exceptionally  rare  piece.  The  twenty-four  pendants,  with  precious 
stones  and  real  pearls,  most  of  which  are  Italian,  sixteenth  century, 
belong  to  the  finest  production  of  the  time. 

The  collection  as  a whole,  in  size  and  rarity,  can  he  compared  only 
with  that  of  the  Pitti  Palace,  of  Baron  Ferdinand  Rothschild  of  Lon- 
don, of  Baron  Gustave  Rothschild  of  Paris,  of  Mr.  J.  P.  Morgan  in 
New  York  and  of  Mr.  C.  P.  Taft  of  Cincinnati. 


294 — Pendant  Reliquary  in  Rock  Crystal,  Ivory,  Gold  and 
Translucent  Enamel.  Italian.  XVI  Century 

In  a rock  crystal  case  mounted  in  gold  and  translucent  enamel,  on 
verdure,  in  a half  kneeling  position  is  seen  St.  Jerome,  carved  in  ivory. 
He  is  naked  except  for  his  loins.  In  his  left  hand  he  holds  a Crucifix 
with  the  crucified  Christ,  and  in  his  right  a stone.  Next  to  him,  on  the 
ground,  is  seen  a dog. 


295- — Pendant  in  Gold,  Enamel  and  Precious  Stones.  French. 
XVI  Century 

Jewel  representing  a cock,  in  enameled  gold,  set  with  diamonds  and 
rubies. 


296 — Pendant  Reliquary  in  Carved  Wood,  Gold,  Enamel  and 
Pearls.  Italian.  X V I Century 

In  a rock  crystal  case,  mounted  in  gold  and  translucent  enamel  with 
a column  on  either  side,  is  a wood  carving.  One  side  of  the  carving 
represents  Christ  carrying  His  Cross,  and  the  Crucifixion : the  other 
side  represents  the  Ascension.  Three  pearls  are  suspended  below. 


297 — Pendant  in  Enameled  Gold  and  Precious  Stones.  Italian 
XVI  Century 

A fantastic  animal  enameled  in  green  with  wings  in  gold  and  diamonds 
is  suspended  on  a chain  of  enameled  gold  set  with  pearls  and  other  pre- 
cious stones.  Three  pearls  are  suspended  below. 


FRANCESCO  RAIBOLINI  CALLED  IL  FRANCIA 

1450 — 1518 

298 — Statuette  jn  Gold  and  Translucent  Enamel:  St.  Roch. 
Italian 

The  Saint  is  standing,  wearing  a short  gown  in  red  over  which  is  a 
green  mantle.  His  hair  is  long  and  blond,  and  his  head  is  raised.  He 
is  holding  up  his  right  hand,  and  in  his  left  is  a staff. 

Height,  2l/>  inches. 

This  statuette  served  probably  as  a model  to  his  painting.  It  shows 
an  almost  identical  representation  of  St.  Roch  against  a land- 
scape background.  The  picture  is  reproduced  in  Venturi-.  “Storia 
dell'  Arte  Italiana vol.  7,  part  3,  p.  909. 


299 — Pendant  in  Gold,  Enamel  and  Precious  Stones.  Italian. 
Venetian.  XVI  Century 

The  pendant  represents  a Venetian  galley.  It  is  in  gold,  enameled  in 
white  and  set  with  rubies,  diamonds,  pearls  and  emeralds.  Galleys  like 
this  are  said  to  have  been  offered  to  the  Doge  of  Venice  on  the  occasion 
of  the  feast  in  honor  of  the  Wedding  of  Venice  to  the  Sea. 

From  the  Guilhou  Collection , Bayonne. 

There  are  analogies  with  a similar  kind  of  pendant  coining  from  the 
Spitzer  Collection , and  reproduced  in  Sale  Catalogue , No.  1820. 


300 — Pendant  in  Gold  and  Enamel  and  Precious  Stones 

The  camel,  enameled  in  white  and  mounted  in  gold  and  enamel,  is  set 
with  diamonds  and  rubies.  His  legs  are  drawn  under  him,  and  beneath 
is  suspended  a pearl.  An  exceptionally  tine  and  rare  piece. 


301 — Pendant  in  Gold,  Enamel  and  Precious  Stones.  Spanish. 
XVI  Century 

A small  Amorino  is  suspended  on  a chain.  His  body  is  enameled  in  white; 
his  hair,  wings  and  drapery  are  in  gold.  A jeweled  ornament  enameled 
in  blue  and  set  with  pearls  around  a ruby  forms  the  upper  part  of  the 
pendant. 


302  Pendant  in  Peake  and  Gold.  Italian.  XVI  Century 

A lion,  part  of  whose  body  is  formed  of  pearl  and  the  rest  of  gold,  is 
suspended  on  a chain. 

There  is  an  almost  identical  pendant  corning  from  the  Spitzer  Collection 
and  reproduced  in  Sale  Catalogue , ATo.  1848. 


303-  -Pendant  in  Mother-of-pearl,  Gold  and  Precious  Stones. 
Italian.  XVI  Century 

Frog.  Mother-of-pearl  forms  the  center.  It  is  mounted  in  gold  and 
set  with  rubies  and  emeralds.  The  chain  hangs  from  emeralds  mounted 
in  gold.  A pear-shaped  pearl  is  suspended  below. 


304 — Pendant  Medallion  in  Gold,  Enamel  and  Precious 
Stones.  Italian.  X VI  Century 

Against  a landscape  background  painted  in  translucent  enamel  on  gold, 
on  a white  horse  is  sitting  St.  Martin  in  a short  green  and  red  garment 
in  translucent  enamel.  In  his  right  hand  he  holds  a sword  with  which 
he  is  dividing  his  red  mantle,  the  end  of  which  is  held  in  his  left  hand. 
Below  is  seen  the  beggar  half  naked.  Rubies  and  diamonds,  mounted  in 
gold,  decorate  the  surface. 


305 — Pendant  in  Enameled  Gold  and  Precious  Stones.  Italian. 
XVI  Century 

On  a fantastic  dragon  in  enameled  gold  set  with  rubies  and  emeralds  is 
seated  a young  cavalier.  Two  pear-shaped  pearls  are  suspended  above 
and  below. 

It  is  interesting  to  compare  it  with  a pendant  reproduced  in  Burlington 
Fine  Arts  Club , 1897:  “ Illustrated  Catalogue  of  European 

Enamels,'”  pi.  07. 


30(5— Pendant  in  Gold  and  Enamel  and  Precious  Stones. 
Italian.  XVI  Century 

In  an  architectural  niche,  Jupiter  is  seated.  He  is  accompanied  by  his 
eagle,  and  is  caressing  a nymph,  seated  next  to  him.  Around  the  central 
representation  is  enameled  foliage  and  flowers,  set  with  emeralds.  Three 
pear-shaped  pearls  are  suspended  below.  An  exceptionally  fine  and  rare 
piece. 

From  the  Spitzer  Collection , and  is  reproduced  in  Sede  Catalogue . No. 
1838. 

There  are  two  very  similar  pendants:  one  in  the  collection  of  Baron 
Ferdinand  de  Rothschild , another  reproduced  in  the  Burlington 
Fine  Arts  Club,  1897  : “ Catalogue  of  European  Enamels pi.  66, 
No.  214. 


307  -Pendant  in  Gold,  Enamel  and  Precious  Stones.  Italian 
XVI  C ENTURY 

On  a camel  in  enameled  gold  is  seated  the  God  of  Love,  holding  in  his 
hand  a bow  and  arrow.  On  the  body  of  the  animal  are  rubies,  diamonds 
and  emeralds.  Pear-shaped  pearls  are  suspended  from  his  feet  and  tail. 
Chain  of  crosses  set  with  rubies. 

From  the  Spitzer  Collection , and  is  reproduced  in  Sale  Catalogue,  No. 

1 827. 


308 — Pendant  Reliquary  in  Glass,  Gold,  Enamel  and  Pearls. 
Italian.  XVI  Century 

The  pendant  reliquary  is  formed  of  a long  tube  of  glass.  It  contains 
some  bone  relics  and  has  an  elaborate  framework  of  three  hoops  splen- 
didly enameled  in  red  and  blue.  At  each  end  of  the  cylinder  is  a convex 
cover  richly  decorated,  and  showing  on  one  side  a hand  in  gold,  on  the 
other  a pearl.  The  chain  is  set  with  pearls.  A large  pearl  hangs 
down  from  an  ornament,  and  below  is  seen  a smaller  one. 

It  is  interesting  to  compare  it  with  a pendant  reliquary  reproduced  in 
the  Catalogue  of  the  Loan  Exhibition  in  the  South  Kensington 
Museum  under  the  number  1.31. 


.309 — Pendant  in  Gold,  Enamel  and  Precious  Stones.  Augs- 
burg ( ? ) . XVI  Century 

In  the  lower  part  is  represented  a horn  of  plenty  set  with  rubies.  Above, 
a young  man  is  standing.  He  is  in  hunting  equipment  and  has  a dog 
on  either  side  of  him.  The  chain  is  decorated  with  crosses  set  with 
rubies.  Six  suspended  pearls  complete  the  decoration. 

Its  form  shows  analogies  with  two  pendants  coming  from  the  Spitzer 
Collection  and  reproduced  in  Sale  Catalogue,  Nos.  1842-1843. 


310 — Locket  in  Agate,  Gold  and  Enamel.  Italian.  XVI  Cen- 
tury 

The  locket  is  oval  in  form,  of  agate,  mounted  in  a wreath  of  gold  leaves 
with  enameled  berries.  The  inside  shows  on  one  side  Hippolvte,  the 
Queen  of  the  Amazons,  in  a short  tunic,  enameled  in  blue  and  gold.  She 
is  sitting  near  a fountain,  also  enameled  in  blue  and  gold.  In  her  hands 
she  holds  the  girdle  which  was  the  ninth  labor  of  Hercules  to  bring  to 
Eurystheus.  In  the  other  half  of  the  locket  is  seen  Lucretia,  standing, 
piercing  her  heart  with  a stiletto.  Her  face  and  part  of  her  body  are 
in  enamel,  and  she  wears  a golden  dress  and  her  golden  hair  falls  loosely 
on  her  shoulders. 

( Illustrated ) 


311 — Pendant  in  Gold,  Enamel  and  Precious  Stones.  Augs- 
burg.  XVI  Century 

In  a circle  of  gold  set  with  rubies  is  seen,  enameled  in  white,  a pelican 
feeding  its  little  ones,  which  are  around  it  in  a nest.  The  pendant  is 
mounted  in  gold  and  set  with  pearls  and  rubies.  Three  pearls  bang 
down : the  back  is  enameled  in  black. 


From  the  Spitzer  Collection  and  is  reproduced  in  Sale  Catalogue , No. 

1831. 


( Illustrated ) 


312 — Pendant  Medal  in  Gold,  Enamel  and  Precious  Stones. 
Augsburg.  XVI  Century 

On  one  side  is  represented  the  bust  of  Maximilian,  Count  Palatine  of 
Bavaria,  wearing  the  emblem  of  the  Order  of  the  Golden  Fleece.  The 
following  inscription  is  around:  Max  :D  :G  :C'0  :Pa  :RH  :YT  :BA  :D  :S  :R  : 
IrElector.  On  the  reverse  is  the  coat-of-anns  of  Bavaria,  with  the  same 
emblems  of  the  Order  of  the  Golden  Fleece.  The  pendant  is  mounted  in 
gold,  enamel  and  rubies.  Three  suspended  pearls  complete  the  decora- 
tion. 


( Illustrated ) 


311 


3 1 3 — Pendant  in  Gold  and  Enamel  and  Precious  Stones. 
It  alian.  XVI  Century 

In  an  architectural  niche  is  seen  Diana  (?)  playing  a musical  instru- 
ment. Behind  her  is  seen  a stag  in  white  enamel  with  golden  horns.  All 
around  it  are  scrolls  in  gold  and  enamel.  There  are  also  rubies  and 
diamonds  mounted  in  gold.  Two  pearls  hang  on  the  sides  and  three  in 
the  lower  part. 


314 — Pendant  in  Gold  and  Enamel  and  Precious  Stones. 
Italian.  XVI  Century 

Filigree,  in  gold  and  enamel,  frames  a center  in  which  is  seen  a ruby 
mounted  in  gold.  On  the  top  is  seen  an  Amorino  blowing  a trumpet. 
Eleven  suspended  pearls  complete  the  decoration. 


315 — Pendant  in  Gold,  Enamel  and  Precious  Stones.  Italian. 
XVI  Century 

On  a bull  is  seated  a young  man  holding  the  head  of  an  animal  with  one 
hand  and  opening  its  jaws  with  the  other.  The  decoration  consists  of 
rubies,  emeralds  and  six  suspended  pearls. 

There  is  some  analogy  with  a pendant  in  the  Louvre,  reproduced  in  Jan- 
net  a-z  and  Fontenay : “Diamants  ef  pierres  preeienses p.  425. 


316 — Pendant  in  Rock  Crystal  and  Enameled  Gold.  Italian. 
Late  XVI  Century 

The  pendant  is  in  rock  crystal  and  enameled  gold.  On  the  sides  two 
caryatides  sustain  an  oval  with  a frame  of  gold,  enameled  in  blue,  red 
and  black.  A pear-shaped  emerald  is  suspended  below. 

From  the  Guilhou  Collection , Bayonne. 

There  is  a similar  pendant  in  the  Karl  Beauchamp  Collection,  repro- 
duced in  the  catalogue  of  the  Loan  Exhibition,  1873,  in  South 
Kensington,  under  the  number  166. 


317 — Pendant  in  Gold,  Enamel  and  Precious  Stones.  Augs- 
burg. XYI  Century 

A crowned  eagle  representing  the  Order  of  Charles  V forms  the  prin- 
cipal representation.  It  is  in  gold,  enameled  in  black,  showing  on  the 
breast  a large  emerald.  The  chain,  composed  of  gold,  enamel  and 
rubies,  is  suspended  on  an  enameled  and  jeweled  ornament  surmounted 
by  a crown.  A hanging  pearl  is  seen  in  the  upper  part  and  seven  in  the 
lower  part. 

From  the  Spitzer  Collection  and  is  reproduced  in  Sale  Catalogue,  No. 
1828. 

There  are  analogies  with  a pendant  showing  an  eagle,  and  reproduced 
in  Giraud:  “ L’Art  du  Metal  a VExposition  de  VUnion  Cent  rale  des 
Beaux- Arts,"  1880,  pi.  22,  No.  0. 


( 111 ust rated) 


No.  •>  1 7 — Pendant  in  Gold,  Enamel  and  Precious  Stones. 
Augsburg.  XVI  Century 


BENVENUTO  CELLINI 
1500 — 1571 

318 — Cup  in  Rock  Crystal.  Italian 

The  cup  is  in  the  form  of  a sea-shell  mounted  in  gold  and  enamel.  It 
is  decorated  on  the  lip  and  the  standard  with  gold  hands  and  trans- 
lucent enamel,  showing  birds,  branches,  leaves  and  a conventionalized 
pattern. 

Height,  6^4  in c h es . 

The  cup  has  been  attributed  by  Bode  to  the  School  of  Augsburg,  but 
it  seems  impossible  to  give  it  any  other  but  an  Italian  origin;  it 
can  in  all  probability  be  considered  as  executed  by  Benvenuto 
Cellini.  Its  similarity  to  the  cup  of  the  Medici  in  the  Pitti  Palace 
in  Florence  is  evident.  There  are  also  analogies  with  a cup  in 
rocJe  crystal  mounted  in  gold,  from  the  Spitzer  Collection,  repro- 
duced in  the  Sale  Catalogue,  No.  2599. 


( Illustrated) 


iSo.  -31 S — Cep  ix  Rock  Crystal.  Italian. 

By  Benvenuto  Cellini 


U9 — Bowl  in  Agate.  Italian:  School  or  Benvenuto  Cellini. 
XVI  Century 

Agate  bowl  with  mounting  in  enamel,  gold  and  fine  stones,  brilliants 
and  rubies.  At  two  sides,  two  sirens,  symbolizing  the  Bay  of  Naples,  are 
poised  on  the  rim.  They  are  in  enameled  gold,  have  baskets  of  fruit 
on  their  heads  and  around  their  arms  are  twisted  serpents.  Very  rare 
piece. 

Height , 6%  inches;  width , 9^4  inches. 

There  is  a vase  in  the  Naples  Museum  reproduced  in  Eugene  Plon : “Ben- 
venuto Cellini pi.  37,  •which  shows  a very  similar  siren  in  enameled 
gold , and  of  which  the  mounting  is  also  similar.  It  was  attributed 
to  Benvenuto  Cellini , but  Plon  in  the  work  mentioned  does  not  find 
in  it  enough  of  the  characteristics  of  Cellinis  art.  and  gives  it  to 
the  Italian  school  of  the  sixteenth  century.  Similar  mounting  in 
the  d.  P.  Morgan  Collection,  Metropolitan  Museum. 


( III ust rated) 


— Bowl  in  Agate.  Italian.  X\  I Century 
School  of  Benvenuto  Cellini 


No.  319 


320 — Biberox  in  Jasper.  French.  XVI  Century 

The  biberon  is  in  the  form  of  a fish  with  open  mouth  and  fins  forming 
the  decoration  of  the  cover.  It  is  mounted  in  gold  and  enamel  and  is 
set  with  rubies  and  diamonds.  Very  rare  specimen. 

It  seems  that  it  was  the  custom  of  the  time  for  the  people  to  offer  these  alle- 
gorical biberons  to  a new-born  crown  prince. 

Height,  7 inches. 

From  the  Alessandro  Castellani  Collection,  Home. 

Great  similarity  in  composition  is  seen  in  comparing  it  to  a drageoir  in 
the  Louvre  Museum,  reproduced  in  Barbet  de  Jouy:  “ Gemmes  et 
Joyaux  de  la  Couronne,"  pi.  46,  where  it  is  said  to  be  of  the  six- 
teenth century.  Period  of  Henri  II.  One  similar  in  form  in  rock 
crystal  in  J.  P.  Morgan  Collection  in  the  Metropolitan  Museum. 


( Illustrated ) 


No.  320 — Biberon  in  Jasper.  French.  XVI  Century 


321 — Tumbler  in  Enameled  Gold.  Flemish.  End  of  XVI 
Century 

The  enameled  coats-of-arms  belong  to  each  of  the  Provinces  which 
formed  the  United  Provinces.  Of  Holland,  red  lion:  of  Zealand,  red 
lion  coining  out  of  the  waves:  of  Utrecht,  two  white  crosses  and  two  red 
lions:  of  Frisia,  two  spotted  lions  on  blue:  of  Over-Yssel,  red  lion  with 
blue  sash:  of  Groningen,  eagles  and  hearts:  of  Guelder,  two  lions  stand- 
ing on  their  hind  feet.  At  the  bottom  there  is  the  medal  of  Albert  of 
Austria,  Governor  of  the  Pays-Bas  with  the  inscription,  “Albertus,  Dei 
Gratia,  Archidux  Austriae,  Dux  Burgundiae  Brabantiae,  Comes  Flan- 
driae,  Dominus  Frisiae,”  signed  “Mont,”  signature  of  Jean  de  Mont- 
fort,  sculptor  and  engraver  of  the  beginning  of  the  seventeenth  century, 
who  was  medal  engraver  at  the  Antwerp  Mint  in  1602.  His  best- 
known  works  are  those  of  the  Archduke  Albert  and  his  wife,  Isabella  of 
Spain. 

The  Archduke  Albert,  son  of  Maxmilian  II  (1559-1621),  was  brought  up  at 
the  Royal  Court  of  Philip  II  of  Spain.  He  was  Archbishop  of  Toledo,  but  at  the 
death  of  the  Archduke  Ernest  he  took  charge  of  the  government  of  the  Pays-Bas  in 
1596.  He  renounced  his  religious  career  and  married  the  daughter  of  Philip  II. 
This  tumbler  was  given  by  the  Archduke  to  the  noble  Spinola  of  Genoa,  Italy, 
who  was  tlien  serving  in  Spain  and  commanding  with  great  success  the  Army  of  the 
Pays-Bas  against  the  United  Provinces.  It  was  also  through  him  that  the  Archduke 
could  close  the  famous  armistice  of  twelve  years. 


From  the  Marquis  of  Spinola , Genoa. 


Height , 3 V inches. 


{Illustrated  in  Color) 


No.  321-  Tumbler  in  Enameled  Gold. 

End  ok  XVI  Century 


Flemish. 


RELIQUARIES  AND  CHURCH 
ORNAMENTS 


322 — Cross  in  Wood  covered  w ith  Silver.  Italian.  Early  XIV 
Century 

On  one  side  on  each  arm  of  flic  Cross  is  seen  an  Angel  in  Adoration. 
In  the  center  is  a cross  and  above  it  the  monogram  of  Christ.  On  the 
other  side,  the  Eternal  Father  is  seen  at  the  top,  and  on  either  side  the 
arms  are  St.  Paul  and  St.  Peter. 


Height,  without  base,  - 1 inches. 


323 — Cross  in  Silver,  Translucent  Enamel  and  Rock  Crystal 
Plaquettes.  Italian:  Sienese.  Late  XIV  or  Begin- 
ning of  XV  Century 

On  one  side  of  the  Cross,  in  enamel,  is  seen  in  the  upper  part  the 
body  of  the  dead  Christ  hanging  on  the  Cross.  The  symbols  of  three 
evangelists,  the  eagle,  the  lion  and  the  ox,  are  represented  in  plaquettes 
of  rock  crystal,  while  in  the  fourth  plaquette  is  engraved  the  monogram 
of  Christ.  The  busts  of  the  Virgin  and  of  St.  John  are  seen  in  enamel 
oj]  the  arms  of  the  Cross,  and  on  the  stem  is  the  figure  of  St.  Stephen. 
Below  is  the  kneeling  figure  of  a bishop  in  the  attitude  of  prayer.  On 
the  other  side  of  the  Cross,  in  enamel,  are  represented  the  symbols 
of  the  four  evangelists  and  a figure  of  a bishop.  On  a red  velvet  base. 

Height,  without  base,  9 :Y\  inches. 

There  are  analogies  with  two  crosses  coming  from  the  collection  of  Giza 
de  Kdrdsz,  reproduced  in  the  Sale  Catalogue,  pi.  I A and  X;  and 
with  a cross  from  the  Spitzer  Collection,  in  silver,  partly  gilt,  with 
translucent  enamel  in  relief,  and  reproduced  in  the  Sale  Catalogue, 
No.  28(5. 


324 — Box  for  Consecrated  Oil  in  Silver  and  Enamel.  French. 
XIV  Ci  SNTURY 

The  box  forms  a small  tower.  On  the  top  is  a thumb  symbolizing  the 
way  in  which  the  oil  was  used.  In  the  upper  part  of  the  front  is  the 
coat-of-arms  of  the  Moet  family  of  Reims,  showing  in  red  enamel  two 
gilded  lions  back  to  back,  and  with  the  heads  turned  toward  each  other. 
Below  is  a shield  with  two  red  bands.  On  the  other  side  of  the  box,  in 
a position  corresponding  to  the  coat-of-arms,  is  another  coat-of-arms. 
Half  of  this  shows  the  same  gilded  lion  on  a red  enamel  background, 
and  the  other  half  shows  the  arms  of  an  unidentified  family  with  whom 
a member  of  the  Moet  family,  in  all  probability,  contracted  a marriage. 
It  is  to  be  assumed  that  this  box  belonged  to  a clergyman  of  the  Moet 
family  who  would  place  in  front  the  arms  of  his  paternal  ancestor,  and 
on  the  back  the  arms  of  his  father  and  mother.  The  Moet  family  seems 
to  have  been  associated  with  many  prominent  officials  of  the  Reims 
Cathedral. 

Height , 5 inches. 

From  the  Guilhou  Collection,  Bayonne. 


325 — Pax  ix  Gilded  Bronze  with  a X iello  in  Center.  Italian. 
Late  XV  Century 

The  Pax,  in  gilded  bronze,  is  in  the  form  of  an  architectural  com- 
position. The  tympanum  of  the  pediment  shows  on  a niello  the  Eternal 
Father  with  outstretched  arms.  In  the  center,  another  niello  shows 
the  Ecce  Homo,  standing  up  in  His  Tomb,  on  which  is  seen  the  inscrip- 
tion SOLIMA.  On  the  base  are  coats-of-arms  within  shields  in  the 
form  of  hearts,  and  the  inscription:  PACTS  FUND  AMENTUM. 

Height , 51/4  inches ; width,  3 G inches. 

This  Pax  comes  from  the  Spitzer  Collection  ( reproduced  in  Sale  Cata- 
logue\ Xo.  337),  to  which  it  came  from  the  Cicognara  Collection. 
It  is  also  re  produced  in  Mali  nice:  “ Histoire  dcs  Arts  appliques 
a Vindustrie : L'orfcrrcrie p.  265. 


326 — Reliquary  Bust  in  Marble  with  Bronze  Mounting. 
French.  XV  Century 

Small  reliquary  bust  of  St.  Martin.  The  saint  is  wearing  a tiara  which 
shows  a painted  and  gilded  design.  The  same  design  is  seen  on  his 
cloak,  which  has  a high  collar.  A jeweled  stone  is  pinned  to  his  breast. 
The  base  is  in  polychromed  wood  and  the  mounting  is  in  bronze  and 
enamel,  showing  Gothic  tracery  on  the  side  of  the  upper  part.  At  the 
back  is  the  inscription,  “St.  I. like  IA  MARTYR.”  Below,  in  front,  is 
an  enamel  with  a conventionalized  pattern ; corresponding  on  the  hack 
is  a jeweled  stone. 

Height , 8%  inches;  width , SfA  inches. 

There  is  in  the  Louvre  a reliquary  bust  decorated  with  translucent 
enamel  and  coming  from  the  Church  of  St.  Martin  of  Soudeilles 
( Corrcze)  which  is  identical  with  this  one,  except  for  the  material, 
which  is  gilded  silver.  It  was  given  to  the  Louvre  by  J.  P.  Morgan 

in  1911. 


327 — Reliquary  Statuette  in  Silver.  Italian:  Scliool  of 
Abruzzo.  Nicola  di  Guardiagrele.  First  Half  of 
XV  Century 

St.  John  the  Baptist.  On  an  hexagonal  base,  decorated  with  rosettes 
in  goldsmith  work,  is  standing  the  saint.  He  wears  an  animal  skin 
on  which  is  a draped  mantle.  His  right  arm,  his  legs  and  feet  are  bare. 
IJ  is  hair  is  long  and  curly,  his  beard  and  mustache  short.  A book  sur- 
mounted by  a lamb  is  on  his  left  arm. 

The  work  of  Nicola  di  Guardiagrele,  the  head  of  the  Abruzzo  School,  is  well 
known  for  its  crosses,  chalices,  ostensoria  and  for  other  objects  used  in  the  liturgy 
of  the  Roman  Church.  Statuettes  like  this,  entirely  in  relief,  are  extremely  rare. 

Height , 1 5 '/t  inches. 

It  is  interesting  to  compare  it  with  the  figures  in  the  celebrated  silver' 
altar  service  preserved  in  the  Cathedral  of  Terarno.  Sec , also,  in 
the  “ Connoisseur ,”  1906,  pp.  8-12,  on  the  Exhibition  of  Abruzzese 
Art  at  Chieti. 


328 — Case  eoh  Consecrated  Water  in  Gilded  Silver.  Italian: 
Florentine.  Late  XV  or  Early  XVI  c ENTER Y 

The  surface  is  divided  into  sections.  The  decoration,  consisting  of 
various  motifs,  is  composed  of  foliage,  of  fantaistic  animals  eating  fruit 
or  drinking  at  the  fountain,  and  of  cupids  seated  on  branches  or  stand- 
ing at  the  fountain.  In  the  center  is  the  coat-of-arms  of  the  Cardinal 
d’Altems,  in  a garland  of  the  style  of  Della  Robbia,  and  in  each  corner 
is  a cherub’s  head.  On  the  cover,  below  which  is  a cresting,  is  a similar 
decoration,  consisting  of  foliage,  leaves  and  heads  of  fantastic  animals. 
On  the  top  is  seen  the  body  of  the  dead  Christ  nailed  to  the  Cross. 
The  whole  workmanship  is  of  exquisite  fineness  and  illustrates  admirably 
the  spirit  of  the  Renaissance  productions  in  its  highest  development  of 
beauty  and  decorative  qualities. 

Height , 9t/o  inches. 

From  the  Guilhou  Collection  of  Bayonne. 


329 — Pax  in  Silver,  Niello.  Italian.  Late  XV  Century 

The  Cross,  to  which  is  attached  a ladder,  is  seen  against  a landscape 
background  composed  of  hills  and  trees.  At  the  foot  of  the  Cross,  in  a 
full  mantle  over  her  head  and  shoulders,  is  seated  the  Virgin.  On 
her  knees  is  the  body  of  the  dead  Christ  with  a crown  of  thorns  on 
His  head.  The  Virgin,  with  folded  hands,  is  looking  down  at  him  in 
profound  despair. 

Height,  7%  inches;  width,  3l/o  inches. 

This  Tax  once  formed  port  of  the  Castellani  Collection,  and  Inter  of  the 
Aynard  Collection. 


330 — Osten soriu m in  Gilded  Bronze.  Italian:  Sienese.  XV 
Century 

On  a base  decorated  with  gilded  scrolls  and  leaf  work  is  a tower  with 
the  inscription:  VENITE  GENES  ET  ADORATE  LOCUISTUM 
QM.  DNUS  REQUIESCIT  IN  EO.  There  are  six  glass  windows  in 
round  arches  with  columns  on  the  sides.  On  top  is  a cross. 

Height,  1 5 f4  inches. 

'This  ostensorium  comes  from  the  Prince  Baucina  Collection,  Palermo, 
and  was  exhibited  in  Siena  in  1 904. 


331 — Reliquary  Bust  in  Gilded  Silver  and  Enamel.  Italian: 
Venetian.  Late  XAr  Century 

Small  bust  of  a female  saint.  The  saint  wears  a bodice  gathered  and 
fastened  in  front,  showing  the  upper  part  of  a chemisette.  A mantle 
covers  her  shoulders.  The  saint’s  face,  neck  and  ears  are  enameled  in 
white,  while  her  bail-  is  gilded.  On  an  antique  red  velvet  base. 


Height,  7V>  inches. 


332 — Large  Reliquary  in  Gilded  Bronze,  Rock  Crystal, 
Enamel  and  Stones.  Sicilian.  XV I Century 

Large  reliquary  in  gilded  bronze,  with  plates  of  rock  crystal  and 
decoration  in  enamel  and  stones,  carnelians,  topazes  and  pearls.  Over 
the  upper  part,  the  statuette  of  the  penitent  St.  Jerome,  kneeling,  ab- 
sorbed in  prayer,  and  with  gaze  fixed  on  the  cross,  closely  clasped  in 
the  right  hand.  At  the  sides,  two  cherubs’  heads. 

Height,  22%  inches;  width , 16%  inches. 


333 — Casket  in  Wood  and  Composition,  with  Gilding  and  Poly- 
chrome. Sicilian.  XV  Century 

The  decorations,  consisting  of  sirens  and  fantastic  animals  in  the 
middle  of  scrolls  and  arabesques,  repeat  a motif  that  is  seen  in  the 
older  ivory  caskets.  An  inscription,  evidently  of  an  amatory  char- 
acter, but  of  difficult  interpretation,  is  repeated  along  the  four  sides. 
This  is  an  object  of  great  rarity  and  of  marked  importance  for  its 
fineness  of  execution  and  its  state  of  preservation,  which,  here  and 
there,  permits  a glimpse  of  the  preparation  for  the  gilding  and  the 
polychrome,  while,  at  the  same  time,  the  design  seems  to  have  retained 
all  its  fineness  and  freshness. 


Height,  6 inches;  length,  11%  inches;  depth,  7%  inches. 


334 — Cross  in  Rock  Crystal  and  Gold.  Italian  : School  of  Ben- 
venuto Cellini.  X V I Century 

The  Cross  of  rock  crystal  rests  on  three  lion’s  claws,  and  is  mounted 
in  gold,  enamel  and  precious  stones.  It  shows  the  influence  of  Benvenuto 
Cellini.  Very  rare  specimen. 

Height,  19t/o  inches. 

From  the  Guilhou  Collection,  Bayonne. 

Many  similarities  in  workmanship  can  he  found  with  a cross  coming 
from  the  Spitzer  Collection  and  reproduced  in  Catalogue,  Vol. 
V,  pi.  II . This  latter  cross,  however,  shows  the  body  of  the  dead 
Christ  nailed  to  the  Cross. 


( Illustrated) 


No.  334 — Cross  ix  Hock  Crystal  axd  Gold.  Italian. 

School  of  Benvenuto  Cellini 


XVI 


Centu  I!  y. 


ATTRIBUTED  TO  VALERIO  BELLI  MCENTINO 

335 — Reliquary  in  Gilded  Silver,  Crystal,  Hard  Stones  and 
Goi.d.  Italian.  XVI  Century 

In  the  upper  part  stand  two  angels  in  long  dresses,  over  which  are 
draped  mantles.  They  are  supporting  an  oval  frame  in  lapis-lazuli, 
in  the  center  of  which  are  two  plates  in  rock  crystal  ( Eglomisiers ) 
representing  on  one  side  the  Ascension,  on  the  other  the  Coronation 
of  the  Virgin.  On  top  is  the  relic  case,  supported  by  two  cherubs. 
The  lower  part  shows  a base  reposing  on  three  winged  sirens.  On  it 
are  seated  three  figures.  One  of  them  is  Pope  Paul  III,  with  his  left 
hand  on  his  breast;  to  the  right  is  St.  Peter  holding  the  keys,  and  to 
the  left  a Prophet  with  a scroll  of  paper  in  his  hand.  Around  are 
the  coats-of-arms  of  the  Farnese  family.  Above  are  two  winged  sirens 
holding  garlands  and  reposing  on  horns  of  plenty. 

Valerio  Belli  Vicentino,  known  as  an  engraver  and  goldsmith,  enjoyed  the 
patronage  of  two  successive  popes,  Clement  VII  and  Paul  III,  and  it  is  possible 
that  he  made  this  reliquary  for  the  latter,  representing  him  between  St.  Peter  and 
a prophet. 

Height,  231/2  inches. 

From  the  collection  of  Prince  Ban  chin,  of  Palermo. 


( Illustrated) 


No.  335 — Reliquary  in  Gilded  Silver,  Crystal,  Hard  Stones  and  Gold. 

Italian.  XVI  Century. 

Attributed  to  Valerio  Belli  Vicentino 


336 — Pax.  Painting  under  Glass  (Verre  Eglomise).  Italian. 
First  Half  of  XVI  Century 

The  Descent  from  the  Cross.  Against  a golden  landscape  background, 
the  Virgin  in  a dark  blue  mantle,  over  a brownish  dress,  is  supporting 
the  body  of  the  dead  Christ,  holding  Him  by  tbe  head.  The  three 
Marys  are  around  Him,  one  holding  his  right  arm,  the  other  His 
left,  both  in  a kneeling  position;  the  third  at  His  feet  looks  up  to 
H im.  All  three  wear  mantles  draped  over  closely  fitting  dresses  and 
their  hair  is  falling  loosely  over  their  shoulders.  St.  John,  repre- 
sented as  a youth  with  long  and  curly  hair,  is  standing  next  to  the 
Virgin  and  is  wiping  his  eyes.  Two  elderly  personages,  with  long 
beards  and  uncovered  heads,  stand  on  either  side  looking  at  the  scene 
in  despair.  With  old  wood  frame  of  the  period. 

Height , without  frame,  11  inches;  width , 5%  inches. 

There  is  in  the  Louvre  a Tax  in  gilded  silver,  in  the  center  of  which 
is  a painting  under  glass,  re  presenting  Calvary,  which  shows 
analogies  to  this  one.  There  is  also  in  the  Altman  Collection  a Pax 
showing  the  same  technique.  It  is  interesting  to  compare  it,  too, 
with  several  paintings  under  glass  and  under  rock  crystal,  repro- 
duced in  the  catalogue  of  the  S pit ::er  Collection. 

( Illustrated) 


337 — Pendant  Medallion.  Painting  under  Hock  Crystal 
(Verre  Eglomise).  Italian.  XVI  Century 

The  Boy  Christ  Preaching  to  the  Doctors  in  the  Temple.  In  the 
upper  part  is  seated  the  Christ,  wearing  a reddish  gown  with  a blue 
mantle  laid  on  his  knees.  Below  are  seated  the  two  Doctors.  To  the 
right  are  seen  the  Virgin,  St.  Joseph  and  the  prophetess  Ann.  Christ 
turns  to  them  while  pointing  to  the  numerous  people  on  his  left. 
Mounted  in  gilded  bronze. 


Height,  2l/o  inches. 


No.  336 — Pax.  Painting  under  Glass  (Verre  Eglomise).  Italian. 
First  Half  of  X^  Century 


338 — Miniature  on  Vellum.  Italian.  Late  XVI  Century 

Above  an  altar  in  marble  is  an  architectural  composition.  Enclosed 
in  it  is  the  Virgin  in  a blue  dress  and  mantle,  her  long  blond  hair 
falling  down  loose  on  her  shoulders.  She  holds  in  both  her  arms  the 
Infant,  who  wears  a blue  dress,  and  who  is  putting  His  arms  around 
His  mother’s  neck.  In  the  margin,  enframing  the  central  portion, 
are  golden  scrolls,  leaves,  and  flowers  on  a dark  blue  background, 
against  which  are  seated  two  Kings  playing  the  harp.  A landscape 
is  seen  on  either  side  of  the  architectural  framing.  On  the  borders 
are  painted  in  medallions  the  busts  of  six  Prophets.  Small  naked  and 
winged  Amorini  are  supporting  candelabra  on  which  is  an  emblem  con- 
sisting of  a hand  in  flames.  In  the  lower  part  two  winged  Amorini 
are  holding  a shield  showing  a golden  crown  in  which  are  seen  two 
green  palms.  All  around,  on  an  alternating  blue,  green,  red  and 
golden  background,  are  scrolls,  foliage  and  flowered  branches.  Various 
inscriptions  addressed  to  the  Virgin  are  seen:  DEI  MATER  ALMA; 
FUNDA  NOS  IN  PACE;  FELIX  C'OELI  PORTA.  In  a modern 
wood  frame. 

It  is  curious  to  observe  that  though  the  manuscript  is  distinctly  of  Italian  work- 
manship, tlic  figure  of  the  Virgin  and  Child  are  Flemish,  in  the  style  of  Roger  Van 
der  Weyden.  Were  there  two  painters,  one  Flemish,  the  other  Italian,  who  worked 
on  this  manuscript,  or  was  it  simply  an  Italian  artist  who  copied  for  his  central  repre- 
sentation a Flemish  Madonna?  We  know  how  many  Flemish  painters  worked  in 
Italy  and  how  close  sometimes  the  association  was  between  them  and  the  Italian 
painters,  as,  for  instance,  between  Justus  of  Ghent  and  Melozzo  da  Forli. 

Height , 14  inches;  width,  10  inches. 

'I' his  miniature  comes  from  the  Spitzer  Collection  and  is  reproduced 
in  their  Side  Catalogue,  No.  8262. 


No.  338— M iniature  ox  Vellum 
Late  XVI  Century 


Ita  li  an 


339 —  Cameo  in  Chalcedony:  Head  of  Jove.  Italian.  Attributed 

to  Valerio  Belli  Vicentino.  XVI  Century 

The  root  of  emerald  is  mounted  in  silver  and  hard  stone.  In  the  center 
enframed  in  a heavy  garland  of  leaves  is  represented  the  head  of  Jove, 
with  thick  curlv  hair  and  a short  and  full  beard.  Similar  cameos  are 
preserved  in  Florence  among  the  treasures  of  the  Pitti  Palace. 

Height,  7]/t  inches;  width,  3 inches. 

340 —  Necklace  in  Enameled  Gold  and  Precious  Stones.  Span- 

ish. Late  XVI  Century 

The  necklace  is  formed  of  delicate  flower-like  stars  in  white  and  gold, 
each  one  showing  in  the  center  a ruby  mounted  in  gold.  From  the 
center  is  suspended  on  a chain  a pendant  representing  an  eagle  enameled 
in  white.  On  its  breast  is  an  emerald  mounted  in  gold.  Suspended  above 
the  eagle’s  head  is  a pearl.  Three  others  are  suspended  below. 

Length,  without  pendant,  29  V>  inches. 


341 — Powder  Box  in  Enameled  Bronze.  Italian:  Venetian. 
XVI  Century 

On  enameled  bronze  is  engraved  a conventionalized  pattern  and  flow- 
ered branches.  In  the  center  are  paintings  under  glass  representing  on 
one  side  a female  figure  holding  a vase;  on  the  other  side,  a young  man 
equipped  for  the  hunt. 

This  kind  of  lady’s  box  was  filled  with  cannon  powder  and  taken  when  they 
went  hunting. 

Diameter , 2%  inches. 

From  the  Prince  Baucini  Collection,  Palermo. 

A very  similar  box  coming  from  the  Spitzer  Collection  is  reproduced  in 
Eugene  Muntz'.  “ Histoire  de  VArt  pendant  la  Renaissance, ” III, 
p.  71(5. 


MISCELLANEOUS  OBJECTS 


342 — Gold  Watch.  French.  Louis  XIV 

On  the  back  a miniature  representing  an  affectionate  farewell,  framed 
all  around  with  diamonds.  Signed:  Dufalga  a Paris.  Very  rare  speci- 
men. Very  good  state  of  preservation. 


343 — Gold  Watch.  French.  Louis  XVI 

The  back  decorated  with  gold  repousse  work  ; in  the  center  a design  in 
diamonds.  Face  surrounded  with  a row  of  diamonds.  Signed:  L’Epine 
a Paris.  Very  good  state  of  preservation. 


344 — Gold  Watch.  French.  Louis  XVI 

The  back  enameled  representing  boys  with  a dog  (after  Greuze)  sur- 
rounded with  a frame  of  diamonds;  a ruby  on  top  of  stem;  face  sur- 
rounded with  rubies  and  diamonds.  Signed : Marchands  fils  a Paris. 
Very  good  state  of  preservation. 


345 — Gold  Watch.  French.  Louis  XVI 

On  the  back  enamel  representing  a portrait  of  a lady;  surrounded  by 
work  in  different  colored  gold;  the  whole  surrounded  with  diamonds. 
Signed:  Abraham-Colomby.  A ery  good  state  of  preservation. 


346 — Gold  Watch.  French.  Louis  XVI 

The  hack  in  gold  repousse  work  representing  a lady  standing  with 
Eros  in  an  arch,  decorated  with  diamonds.  Face  surrounded  with 
diamonds.  Signed : Berthoud  a Paris.  Very  good  state  of  preserva- 
tion. 


347 —  Gold  Watch.  French.  Louis  XVI 

The  back  is  openwork;  in  the  center  a miniature  portrait  of  a lady, 
all  decorated  with  gergoni.  Signed:  L’Epine  a Paris.  Very  rare 
specimen.  Very  good  state  of  preservation. 

348 —  Watch  in  Gold.  English.  Style  of  I ate  is  XV 

In  a double  case;  hack  repousse  work,  representing  a garden  party. 
Barwise  & Sons,  Makers.  Very  good  state  of  preservation. 


349 — Gold  Watch.  French.  Louis  XVI 

The  back  is  openwork,  decorated  with  gergoni.  Very  good  state  of 
preservation. 


350 — Gold  Watch.  French.  Empire  Period 

The  back  in  dark  blue  enamel,  representing  a boy  standing  between  a 
lady  and  a fountain;  all  decorated  with  diamonds.  Signed:  Jn.  Fazy 
& fils.  Very  good  state  of  preservation. 


3.51 — Gold  Watch.  Empire  Period 

The  back  enameled  in  a beautiful  dark  blue,  representing  a young 
lady  with  a scroll  manuscript ; some  gold  relief ; a border  of  sky-blue 
enamel,  and  all  surrounded  by  a row  of  pearls.  Signed:  Freres  Nei- 
gncur  a Geneve.  Very  good  state  of  preservation. 


3.52 — Gold  Watch.  French.  Empire  Period 

On  the  back  a beautiful  blue  enamel  representing  a lady  with  two 
children  holding  birds.  At  the  top  in  gold  a winged  figure.  The  whole 
surrounded  with  a row  of  pearls.  Very  good  state  of  preservation. 


353— Gold  Watch.  French.  Louis  XVI 

On  the  back  a rosette  in  diamonds  and  rubies  on  a dark  blue  enamel 
ground.  The  face  surrounded  with  a row  of  rubies  and  diamonds. 
Signed : Herbeau  a Paris.  Very  good  state  of  preservation. 


354 — Watch  in  Gold  and  Enamel.  French.  Empire  Period 

The  back  in  a beautiful  dark  blue  enamel  with  a border  of  sky-blue 
enamel.  Very  good  state  of  preservation. 


355— Watch  in  Gold.  French.  Louis  XVI 

The  back,  repousse  work  representing  a temple,  profusely  decorated 
with  diamonds;  diamond  push  button  to  open.  Marked:  Nasson  a 
Paris.  Very  good  state  of  preservation. 


356 — Strip  of  Embroidered  Linen.  Sicilian:  Gothic  Style. 
XVI  Centltry 

Strip  of  linen  embroidered  in  Gothic  style,  in  small  point,  with  birds  and 
inscriptions,  in  yellow,  green  and  red  coloring.  Narrow  silk  and  silver 
fringe;  red  silk  lining. 

Length , 7 feet  6 inches;  width , 7 inches. 


357 — Large  Lace  Table  Coyer.  Venetian  Gothic.  Early  XVI 
Century 

Large  table  cover  in  lace,  edged  with  lace,  needle  point.  Yellow  lining. 

Length,  6 feet  11  inches;  width,  4 feet  3 inches. 


358 — Linen  Table  Cover  with  Lace  Insets.  Venetian.  Early 
XVI  c 'entury 

Linen  table  cover  with  four  circular  insets  and  strips  of  Gothic  needle- 
point and  an  edging  of  the  same  lace.  Splendid  design  and  an  unusual 
piece. 

Length,  3 feet  11  inches ; width,  3 feet  3 inches. 


359 — Flounce  of  Lace. 

Large  scroll  design. 


Venetian.  XVII  Century 


Length,  4 yards;  width,  6 fA  inches. 


360 — Table  Cover  with  Linen  Center  and  Lace  Edging. 
Venetian.  XVII  Century 

Large  linen  table  cover,  with  heavy  lace  edging  five  inches  wide. 

Length,  7 feet  11  inches;  width,  7 feet  4 inches. 


361 — Large  Flounce  of  Lace.  French.  XV 1 1 Century 

Large  flounce  of  “point  de  Paris”;  splendid  design  in  arabesques,  ani- 
mals and  flowers.  Very  rare  specimen.  One  similar  can  be  found  at  the 
C'luny  Museum,  Paris. 

Length , 4 yards  8 inches;  width,  2 feet  5 inches. 


362 —  One  Piece  of  Lace  Banding.  Venetian.  XVI 1 Century 

Lace  in  foliage  design. 

Length,  3 feet  9 inches;  2%  inches  wide. 

363 —  Strip  of  Lace.  Venetian.  XVII  Century 

Lace  in  flower  design. 

Length,  6 feet  11  inches;  width,  2 inches. 


364 — Towel  in  Embroidered  Linen.  Sicilian.  XVII  Century 

Linen  towel  embroidered  in  red,  in  Renaissance  design. 

Length,  4 feet, ; width , 1 foot  11  inches. 


SIXTEENTH  AND  SEVENTEENTH  CENTURY 

EMBROIDERIES 


365—  Damask  Portiere.  Genoese.  XVI  Century 
Portiere  of  green  brocaded  damask. 

Length , 7 feet  10  inches;  width,  7 feet  8l/o  inches. 

366 —  Cut  Velvet  Small  Table  Cover.  Genoese.  XVI  Century 

Cover  of  red  on  an  ivory  ground  cut  velvet ; plain  red  velvet  border  and 
fringe.  Red  silk  lining. 

Length,  4 feet  3 inches ; width,  2 feet  6 inches. 

367 —  Cut  Velvet  Small  Table  Cover.  Genoese.  XVI  Century 

Red  cut  velvet  in  small  all-over  pattern.  Silver  galloon.  Red  silk  lining. 

Length,  3 feet  4 inches;  width,  2 feet  11  inches. 

368 —  Strip  or  Cut  Velvet.  Venetian.  X V I Century 

Velvet  with  white  ground,  red  relief.  Very  beautiful  design  in  Oriental 
style;  silver  galloon. 

Length,  5 feet  9 inches;  width,  22  inches. 

369 —  Strip  oe  Cut  Velvet.  Venetian.  XVI  Century 

Velvet  with  old-gold  background  and  green  relief.  Plain  red  velvet  bor- 
der. Red  silk  lining. 

Length,  5 feet  9 inches;  width,  17  inches. 


370 —  Small  Piece  or  Cut  Velvet.  Venetian.  XVI  Century 

Velvet  in  red  and  green  coloring,  jardiniere  pattern;  border  of  silver  gilt 
galloon.  Mauve  silk  lining. 

Length,  2 feet  6 inches;  width,  2 feet  21/?  inches. 

371 —  Strip  of  Cut  Velvet.  Genoese.  X V I Century 

Old-gold  ground  with  red  relief.  Red  and  gold  fringe;  striped  silk 
lining. 

Length,  6 feet,  KU/k  inches;  width,  15  inches. 


372 — Four  Strips  of  Velvet.  Genoese.  X V I Century 

Beautiful  ruby-red  velvet. 

Length,  6 feet  8 inches;  width.  20  inches. 


373 — Strip  of  Velvet. 
Plain  red  velvet. 


Genoese.  XVI  Century 

Length , 3 feet  5 inches;  width,  25  inches. 


374 — Small  Table  Cover  of  Velvet.  Italian.  End  of  XVI 
Century 

Plain  red  velvet  with  gilt  galloon.  Red  silk  lining. 

Length,  4 feet  3 inches;  width,  3 feet  1 1 V inches. 


375 — Large  Damask  and  Embroidered  Table  Cover.  Floren- 
tine. XVII  Century 

The  center  is  of  crimson  damask.  The  border  executed  in  Italian  gross 
point  stitch  in  rich  varicolored  silks  on  a zigzag  ivory  background.  An 
undulating  rustic  stem  runs  from  corner  to  corner  and  holds  inanv 
scrolled  and  trailing  sprays  of  conventionalized  flowers  and  foliage, 
among  which  occur  butterflies;  narrow  outside  border  of  a stem  and 
leaves. 


Length . 9 feet  4 inches;  width , 8 feet. 


376 — Statuette  in  Bronze.  French.  XVIII  Century 

Statuette  in  dull  bronze  representing  “Ariadne  Forsaken.”  It  rests 
on  a rectangular  base  done  in  marqueterie  of  bronze  on  tortoise-shell. 
The  model  of  this  bronze  in  wax,  executed  by  Poussin  from  the  marble 
in  the  Vatican,  Rome,  is  found  in  the  Louvre  Museum. 

Height,  15  inches;  length,  23  inches;  depth,  10  inches. 


377 Two  Large  Wall  Candelabra  in  Gilded  Bronze.  1 rench. 

Louis  XVI  Period 

The  candelabra  are  branched  and  finely  engraved.  These  are^  of  a 
design  not  found  elsewhere  and  are  very  richly  decorated.  line  French 
work. 

Height,  3 feet  1 inch;  projection,  2 feet  6 inches. 


378 — Two  Large  Candelabra  in  Bronze,  Black  and  Gold. 
French.  Empire  Period 

Winged  Victories  bearing  in  their  hands  the  candelabra.  Triangular 
feet;  very  richly  ornamented.  Very  fine  workmanship,  attributed  to 
Thomire. 

Height,  4 feet  8 inches. 

From  the  Count  Galanti  Collection,  Naples. 


I 


COMPOSITION.  PRESSWORK 
AND  BINDING  BY 


X 45  7 8 


GETTY  CENTER  LIBRARY 

N 5220  C16  1)10 

c -i  Govett.  Ernest. 

Illustrated  catalogue  of  the  Canessa  col 


MAIN 


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